Mistress Poems Quotes

So rainbow-sided, touch'd with miseries, She seem'd, at once, some penanced lady elf, Some demon's mistress, or the demon's self.

Tell me not, sweet, I am unkind,” he said, “That from the nunnery, Of they chaste breast and quiet mind.” I looked up at him, and said the next line, “To war and arms I fly.” “True, a new mistress now I chase,” he said. “The first foe in the field,” I said, and let him draw me closer. “And with a stronger faith embrace,” he said. “A sword, a horse, a shield.” And the last word was whispered against his chest, still looking up into those eyes, searching his face. “Yet this inconstancy is such, As thou too shalt adore,” he whispered against my hair. I finished the poem with my face pressed against his chest, listening to the beat of his heart, that truly beat with my blood. “I could not love thee, dear, so much, Loved I not honor more.

To His Coy Mistress Had we but world enough and time, This coyness, lady, were no crime. We would sit down, and think which way To walk, and pass our long love’s day. Thou by the Indian Ganges’ side Shouldst rubies find; I by the tide Of Humber would complain. I would Love you ten years before the flood, And you should, if you please, refuse Till the conversion of the Jews. My vegetable love should grow Vaster than empires and more slow; An hundred years should go to praise Thine eyes, and on thy forehead gaze; Two hundred to adore each breast, But thirty thousand to the rest; An age at least to every part, And the last age should show your heart. For, lady, you deserve this state, Nor would I love at lower rate. But at my back I always hear Time’s wingèd chariot hurrying near; And yonder all before us lie Deserts of vast eternity. Thy beauty shall no more be found; Nor, in thy marble vault, shall sound My echoing song; then worms shall try That long-preserved virginity, And your quaint honour turn to dust, And into ashes all my lust; The grave’s a fine and private place, But none, I think, do there embrace. Now therefore, while the youthful hue Sits on thy skin like morning dew, And while thy willing soul transpires At every pore with instant fires, Now let us sport us while we may, And now, like amorous birds of prey, Rather at once our time devour Than languish in his slow-chapped power. Let us roll all our strength and all Our sweetness up into one ball, And tear our pleasures with rough strife Thorough the iron gates of life: Thus, though we cannot make our sun Stand still, yet we will make him run.

Walt Whitman (1819–1892). Leaves of Grass. 1900. To You WHOEVER you are, I fear you are walking the walks of dreams, I fear these supposed realities are to melt from under your feet and hands; Even now, your features, joys, speech, house, trade, manners, troubles, follies, costume, crimes, dissipate away from you, Your true Soul and Body appear before me, They stand forth out of affairs—out of commerce, shops, law, science, work, forms, clothes, the house, medicine, print, buying, selling, eating, drinking, suffering, dying. Whoever you are, now I place my hand upon you, that you be my poem; I whisper with my lips close to your ear, I have loved many women and men, but I love none better than you. O I have been dilatory and dumb; I should have made my way straight to you long ago; I should have blabb’d nothing but you, I should have chanted nothing but you. I will leave all, and come and make the hymns of you; None have understood you, but I understand you; None have done justice to you—you have not done justice to yourself; None but have found you imperfect—I only find no imperfection in you; None but would subordinate you—I only am he who will never consent to subordinate you; I only am he who places over you no master, owner, better, God, beyond what waits intrinsically in yourself. Painters have painted their swarming groups, and the centre figure of all; From the head of the centre figure spreading a nimbus of gold-color’d light; But I paint myriads of heads, but paint no head without its nimbus of gold-color’d light; From my hand, from the brain of every man and woman it streams, effulgently flowing forever. O I could sing such grandeurs and glories about you! You have not known what you are—you have slumber’d upon yourself all your life; Your eye-lids have been the same as closed most of the time; What you have done returns already in mockeries; (Your thrift, knowledge, prayers, if they do not return in mockeries, what is their return?) The mockeries are not you; Underneath them, and within them, I see you lurk; I pursue you where none else has pursued you; Silence, the desk, the flippant expression, the night, the accustom’d routine, if these conceal you from others, or from yourself, they do not conceal you from me; The shaved face, the unsteady eye, the impure complexion, if these balk others, they do not balk me, The pert apparel, the deform’d attitude, drunkenness, greed, premature death, all these I part aside. There is no endowment in man or woman that is not tallied in you; There is no virtue, no beauty, in man or woman, but as good is in you; No pluck, no endurance in others, but as good is in you; No pleasure waiting for others, but an equal pleasure waits for you. As for me, I give nothing to any one, except I give the like carefully to you; I sing the songs of the glory of none, not God, sooner than I sing the songs of the glory of you. Whoever you are! claim your own at any hazard! These shows of the east and west are tame, compared to you; These immense meadows—these interminable rivers—you are immense and interminable as they; These furies, elements, storms, motions of Nature, throes of apparent dissolution—you are he or she who is master or mistress over them, Master or mistress in your own right over Nature, elements, pain, passion, dissolution. The hopples fall from your ankles—you find an unfailing sufficiency; Old or young, male or female, rude, low, rejected by the rest, whatever you are promulges itself; Through birth, life, death, burial, the means are provided, nothing is scanted; Through angers, losses, ambition, ignorance, ennui, what you are picks its way.

To Lucasta, Going to the Wars Tell me not, Sweet, I am unkind, That from the nunnery Of thy chaste breast and quiet mind To war and arms I fly. True, a new mistress now I chase, The first foe in the field; And with a stronger faith embrace A sword, a horse, a shield. Yet this inconstancy is such As thou too shalt adore; I could not love thee, Dear, so much, Loved I not Honour more.

This was one of their love poems: Mo Rog Glonog, Quinba, Hlin varr. It meant: "Give me a kiss, please, Miss. I like your nose." From Mistress Masham's Repose

Your true soul and body appear before me. Whoever you are, now I place my hand upon you, that you be my poem, I whisper with my lips close to your ear, I have loved many women and men, but I love none better than you. O I have been dilatory and dumb, I should have made my way straight to you long ago, I should h ave blabb'd nothing but you, I should have chanted nothing but you. I will leave all and come and make the hymns of you, none has understood you, but I understand you, none has done justice to you, you have not done justice to yourself, none but has found you imperfect, I only find no imperfection in you, none but would subordinate you, I only am he who will never consent to subordinate you, I only am he who places over you no master, owner, better, God, beyond what waits instrinsically in yourself. O I could sing such grandeurs and glories about you! You have not known what you are, you have slumber'd upon yourself all your life, Your eyelids have been the same as closed most of the time. I pursue you where none else has pursued you. Conceal you from others or from yourself, they do not conceal you from me. I give nothing to any one except I give the like carefully to you. These immense meadows, these interminable rivers, you are immense and interminable as they, these furies, elements, storms, motions of Nature, throes of apparent dissolution, you are he or she who is master or mistress over them, Master or mistress in your own right over Nature, elements, pain, passion, dissolution.

There comes an end to summer, To spring showers and hoar rime; His mumming to each mummer Has somewhere end in time, And since life ends and laughter, And leaves fall and tears dry, Who shall call love immortal, When all that is must die ? Nay, sweet, let’s leave unspoken The vows the fates gainsay, For all vows made are broken, We love but while we may. Let’s kiss when kissing pleases, And part when kisses pall, Perchance, this time to-morrow, We shall not love at all. You ask my love completest, As strong next year as now, The devil take you, sweetest, Ere I make aught such vow. Life is a masque that changes, A fig for constancy! No love at all were better, Than love which is not free." -"To His Mistress

At childhood’s end, the houses petered out into playing fields, the factory, allotments kept, like mistresses, by kneeling married men, the silent railway line, the hermit’s caravan, till you came at last to the edge of the woods. It was there that I first clapped eyes on the wolf. He stood in a clearing, reading his verse out loud in his wolfy drawl, a paperback in his hairy paw, red wine staining his bearded jaw. What big ears he had! What big eyes he had! What teeth! In the interval, I made quite sure he spotted me, sweet sixteen, never been, babe, waif, and bought me a drink, my first. You might ask why. Here’s why. Poetry. The wolf, I knew, would lead me deep into the woods, away from home, to a dark tangled thorny place lit by the eyes of owls. I crawled in his wake, my stockings ripped to shreds, scraps of red from my blazer snagged on twig and branch, murder clues. I lost both shoes but got there, wolf’s lair, better beware. Lesson one that night, breath of the wolf in my ear, was the love poem. I clung till dawn to his thrashing fur, for what little girl doesn’t dearly love a wolf? Then I slid from between his heavy matted paws and went in search of a living bird – white dove – which flew, straight, from my hands to his hope mouth. One bite, dead. How nice, breakfast in bed, he said, licking his chops. As soon as he slept, I crept to the back of the lair, where a whole wall was crimson, gold, aglow with books. Words, words were truly alive on the tongue, in the head, warm, beating, frantic, winged; music and blood. But then I was young – and it took ten years in the woods to tell that a mushroom stoppers the mouth of a buried corpse, that birds are the uttered thought of trees, that a greying wolf howls the same old song at the moon, year in, year out, season after season, same rhyme, same reason. I took an axe to a willow to see how it wept. I took an axe to a salmon to see how it leapt. I took an axe to the wolf as he slept, one chop, scrotum to throat, and saw the glistening, virgin white of my grandmother’s bones. I filled his old belly with stones. I stitched him up. Out of the forest I come with my flowers, singing, all alone. Little Red-Cap

Oh! My sweet Catherine, in your generous heart I know it would signify nothing; but we must not expect such disinterestedness in many. As for myself, I am sure I only wish our situations were reversed. Had I the command of millions, were I mistress of the whole world, your brother would be my only choice.

The Cavalier Servente by Stewart Stafford Her lover creeps On stairs that creak To where the mistress sleeps To wet his beak. Affairs in the dark When matrimony is parked A disloyal lark Starts the carnal spark. At break of day The cuckolder creeps away From naughty play He’s had his way. © Stewart Stafford, 2021. All rights reserved.

Fickle Fortune: A Fragment Though fickle Fortune has deceived me, She pormis'd fair and perform'd but ill; Of mistress, friends, and wealth bereav'd me, Yet I bear a heart shall support me still. I'll act with prudence as far 's I'm able, But if success I must never find, Then come misfortune, I bid thee welcome, I'll meet thee with an undaunted mind.

Song When I am dead, my dearest, Sing no sad songs for me; Plant thou no roses at my head, Nor shady cypress tree: Be the green grass above me With showers and dewdrops wet; And if thou wilt, remember, And if thou wilt, forget. I shall not see the shadows, I shall not feel the rain; I shall not hear the nightingale Sing on, as if in pain: And dreaming through the twilight That doth not rise nor set, Haply I may remember, And haply may forget. Sir Thomas Wyatt has been credited with introducing the Petrarchan sonnet into the English language. Wyatt's father had been one of Henry VII's Privy Councilors and remained a trusted adviser when Henry VIII came to the throne in 1509. Wyatt followed his father to court, but it seems the young poet may have fallen in love with the king’s mistress, Anne Boleyn. Their acquaintance is certain, although whether or not the two actually shared a romantic relationship remains unknown. But in his poetry, Wyatt called his mistress Anna and there do seem to be correspondences. For instance, this poem might well have been written about the King’s claim on Anne Boleyn:

Barack went on to explain that “there was a voice inside me that I could hear that was true—a kernel of myself—this is from a Borges poem—sort of a love poem to a mistress of his,” one that Jorge Luis Borges had written in 1934. “He says ‘I offer you that kernel of myself that is basically untouched, doesn’t traffic in the trivial or the petty or is just there’” (a close rendition of Borges’s declaration, “I offer you that kernel of myself that I have saved, somehow—the central heart that deals not in words, traffics not with dreams, and is untouched by time, by joy, by adversities”). Barack told Weisberg, “I felt that. That sounds like god to me,” and “to me god is connection . . . making connections, and in that connection, that’s where I find god.

THE METAPHYSICAL POETS Had we but world enough, and time, This coyness, lady, were no crime (Andrew Marvell, To His Coy Mistress) While theatre was the most public literary form of the period, poetry tended to be more personal, more private. Indeed, it was often published for only a limited circle of readers. This was true of Shakespeare's sonnets, as we have seen, and even more so for the Metaphysical poets, whose works were published mostly after their deaths. John Donne and George Herbert are the most significant of these poets. The term 'Metaphysical' was used to describe their work by the eighteenth-century critic, Samuel Johnson. He intended the adjective to be pejorative. He attacked the poets' lack of feeling, their learning, and the surprising range of images and comparisons they used. Donne and Herbert were certainly very innovative poets, but the term 'Metaphysical' is only a label, which is now used to describe the modern impact of their writing. After three centuries of neglect and disdain, the Metaphysical poets have come to be very highly regarded and have been influential in recent British poetry and criticism. They used contemporary scientific discoveries and theories, the topical debates on humanism, faith, and eternity, colloquial speech-based rhythms, and innovative verse forms, to examine the relationship between the individual, his God, and the universe. Their 'conceits', metaphors and images, paradoxes and intellectual complexity make the poems a constant challenge to the reader.

The Count of Monte Cristo, Edgar Allan Poe, Robinson Crusoe, Ivanhoe, Gogol, The Last of the Mohicans, Dickens, Twain, Austen, Billy Budd…By the time I was twelve, I was picking them out myself, and my brother Suman was sending me the books he had read in college: The Prince, Don Quixote, Candide, Le Morte D’Arthur, Beowulf, Thoreau, Sartre, Camus. Some left more of a mark than others. Brave New World founded my nascent moral philosophy and became the subject of my college admissions essay, in which I argued that happiness was not the point of life. Hamlet bore me a thousand times through the usual adolescent crises. “To His Coy Mistress” and other romantic poems led me and my friends on various joyful misadventures throughout high school—we often sneaked out at night to, for example, sing “American Pie” beneath the window of the captain of the cheerleading team. (Her father was a local minister and so, we reasoned, less likely to shoot.) After I was caught returning at dawn from one such late-night escapade, my worried mother thoroughly interrogated me regarding every drug teenagers take, never suspecting that the most intoxicating thing I’d experienced, by far, was the volume of romantic poetry she’d handed me the previous week. Books became my closest confidants, finely ground lenses providing new views of the world.

LOVE'S DIET To what a cumbersome unwieldiness And burdenous corpulence my love had grown, But that I did, to make it less, And keep it in proportion, Give it a diet, made it feed upon That which love worst endures, discretion. Above one sigh a day I allowed him not, Of which my fortune, and my faults had part; And if sometimes by stealth he got A she sigh from my mistress' heart, And thought to feast upon that, I let him see 'Twas neither very sound, nor meant to me. If he wrung from me a tear, I brined it so With scorn and shame, that him it nourished not; If he sucked hers, I let him know 'Twas not a tear which he had got; His drink was counterfeit, as was his meat; For eyes, which roll towards all, weep not, but sweat. Whatever he would dictate I writ that, But burnt her letters when she writ to me; And if that favour made him fat, I said, "If any title be Conveyed by this, ah! what doth it avail, To be the fortieth name in an entail?" Thus I reclaimed my buzzard love, to fly At what, and when, and how, and where I choose. Now negligent of sports I lie, And now, as other falconers use, I spring a mistress, swear, write, sigh, and weep; And the game killed, or lost, go talk or sleep.

Every time Leon had to tell her everything that he had done since their last meeting. She asked him for some verses - some verses for herself, a "love poem" in honour of her. But he never succeeded in getting a rhyme for the second verse; and at last ended by copying for her a sonnet in a "Keepsake". This was less from vanity than from the one desire of pleasing her. He did not question her ideas; he accepted all her tastes; he was rather becoming her mistress than she his. She had tender words and kisses that thrilled his soul. Where could she have learned this corruption almost incorporeal in the strength of its profundity and dissimulation?

A VALEDICTION: OF THE BOOK I'll tell thee now (dear love) what thou shalt do To anger destiny, as she doth us; How I shall stay, though she eloign me thus, And how posterity shall know it too; How thine may out-endure Sibyl's glory, and obscure Her who from Pindar could allure, And her, through whose help Lucan is not lame, And her, whose book (they say) Homer did find, and name. Study our manuscripts, those myriads Of letters, which have past 'twixt thee and me; Thence write our annals, and in them will be To all whom love's subliming fire invades, Rule and example found; There the faith of any ground No schismatic will dare to wound, That sees, how Love this grace to us affords, To make, to keep, to use, to be these his records. This book, as long-lived as the elements, Or as the world's form, this all-graved tome In cypher writ, or new made idiom; We for Love's clergy only are instruments; When this book is made thus, Should again the ravenous Vandals and Goths invade us, Learning were safe; in this our universe, Schools might learn sciences, spheres music, angels verse. Here Love's divines—since all divinity Is love or wonder—may find all they seek, Whether abstract spiritual love they like, Their souls exhaled with what they do not see; Or, loth so to amuse Faith's infirmity, they choose Something which they may see and use; For, though mind be the heaven, where love doth sit, Beauty a convenient type may be to figure it. Here more than in their books may lawyers find, Both by what titles mistresses are ours, And how prerogative these states devours, Transferred from Love himself, to womankind; Who, though from heart and eyes, They exact great subsidies, Forsake him who on them relies; And for the cause, honour, or conscience give; Chimeras vain as they or their prerogative. Here statesmen, (or of them, they which can read) May of their occupation find the grounds; Love, and their art, alike it deadly wounds, If to consider what 'tis, one proceed. In both they do excel Who the present govern well, Whose weakness none doth, or dares tell; In this thy book, such will there something see, As in the Bible some can find out alchemy. Thus vent thy thoughts; abroad I'll study thee, As he removes far off, that great heights takes; How great love is, presence best trial makes, But absence tries how long this love will be; To take a latitude Sun, or stars, are fitliest viewed At their brightest, but to conclude Of longitudes, what other way have we, But to mark when and where the dark eclipses be?

He was over ninety years of age, his walk was erect, he talked loudly, saw clearly, drank neat, ate, slept, and snored. He had all thirty-two of his teeth. He only wore spectacles when he read. He was of an amorous disposition, but declared that, for the last ten years, he had wholly and decidedly renounced women. He could no longer please, he said; he did not add: "I am too old," but: "I am too poor." He said: "If I were not ruined--Heee!" All he had left, in fact, was an income of about fifteen thousand francs. His dream was to come into an inheritance and to have a hundred thousand livres income for mistresses. He did not belong, as the reader will perceive, to that puny variety of octogenaries who, like M. de Voltaire, have been dying all their life; his was no longevity of a cracked pot; this jovial old man had always had good health.

The Garden" How vainly men themselves amaze To win the palm, the oak, or bays, And their uncessant labours see Crown’d from some single herb or tree, Whose short and narrow verged shade Does prudently their toils upbraid; While all flow’rs and all trees do close To weave the garlands of repose. Fair Quiet, have I found thee here, And Innocence, thy sister dear! Mistaken long, I sought you then In busy companies of men; Your sacred plants, if here below, Only among the plants will grow. Society is all but rude, To this delicious solitude. No white nor red was ever seen So am’rous as this lovely green. Fond lovers, cruel as their flame, Cut in these trees their mistress’ name; Little, alas, they know or heed How far these beauties hers exceed! Fair trees! wheres’e’er your barks I wound, No name shall but your own be found. When we have run our passion’s heat, Love hither makes his best retreat. The gods, that mortal beauty chase, Still in a tree did end their race: Apollo hunted Daphne so, Only that she might laurel grow; And Pan did after Syrinx speed, Not as a nymph, but for a reed. What wond’rous life in this I lead! Ripe apples drop about my head; The luscious clusters of the vine Upon my mouth do crush their wine; The nectarine and curious peach Into my hands themselves do reach; Stumbling on melons as I pass, Ensnar’d with flow’rs, I fall on grass. Meanwhile the mind, from pleasure less, Withdraws into its happiness; The mind, that ocean where each kind Does straight its own resemblance find, Yet it creates, transcending these, Far other worlds, and other seas; Annihilating all that’s made To a green thought in a green shade. Here at the fountain’s sliding foot, Or at some fruit tree’s mossy root, Casting the body’s vest aside, My soul into the boughs does glide; There like a bird it sits and sings, Then whets, and combs its silver wings; And, till prepar’d for longer flight, Waves in its plumes the various light. Such was that happy garden-state, While man there walk’d without a mate; After a place so pure and sweet, What other help could yet be meet! But ’twas beyond a mortal’s share To wander solitary there: Two paradises ’twere in one To live in paradise alone. How well the skillful gard’ner drew Of flow’rs and herbs this dial new, Where from above the milder sun Does through a fragrant zodiac run; And as it works, th’ industrious bee Computes its time as well as we. How could such sweet and wholesome hours Be reckon’d but with herbs and flow’rs!

Jumpy en route to his mistress tried to convince himself that his resentments of Hanif, his friend Hanif were primarily – how to put it? – linguistic. Hanif was in perfect control of the languages that mattered: sociological, socialistic, black-radical, anti-anti-anti-racist, demagogic, oratorical, sermonic: the vocabularies of power. But you bastard you rummage in my drawers and laugh at my stupid poems. The real language problem: how to bend it shape it, how to let it be our freedom, how to repossess its poisoned wells, how to master the river of words of time of blood: about all that you haven’t got a clue.

That beautiful Shirazi Turk, took control and my heart stole, I'll give Samarkand & Bukhara, for her Hindu beauty mole. O wine-bearer bring me wine, such wine not found in Heavens By running brooks, in flowery fields, spend your days and stroll. Alas, these sweet gypsy clowns, these agitators of our town Took the patience of my heart, like looting Turks take their toll. Such unfinished love as ours, the Beloved has no need, For the Perfect Beauty, frills and adornments play no role. I came to know Joseph's goodness, that daily would increase Even the chaste Mistress succumbed to the love she would extol. Whether profane or even cursed, I'll reply only in praise Sweetness of tongue and the lips, even bitterness would enthrall. Heed the advice of the wise, make your most endeared goal, The fortunate blessed youth, listen to the old wise soul. Tell tales of song and wine, seek not secrets of the world, None has found and no-one will, knowledge leaves this riddle whole. You composed poems and sang, Hafiz, you spent your days well Venus wedded to your songs, in the firmaments' inverted bowl.

Sephardic poems: The mind is flawed, the way to wisdom blocked; The body alone is seen, the soul is hid, And those who seek the world find only ill; The servant rises up and kills his lord, And serving girls attack their mistresses. Sons are raising hands against their parent’s will. My friend, from what I’ve seen of life I’d say The best that one can hope is to go mad. However long you live you suffer toil, And in the end you suffer rot and worms. Then finally the clay goes back to clay; At last the soul ascends to join the Soul.

The poem is called From Kytris, To His Mistress. It is older than Jamaillia, from the days of the Old Empire.” Again there was a pause. “Ever since I met you, it has made me think of you. Especially the part that says, ‘Words are not cupped deeply enough to hold my fondness. I bite my tongue and scowl my love, lest passion make me slave.’ ” A pause. “Another man’s words, from another man’s lips. I wish they were my own.

Hollow (2020) Written in response to the toppling of the Edward Colston statue in Bristol on Sunday 7th June 2020. You came down easy in the end the righteous wrench of two ropes in a grand plie briefly, you flew corkscrewed, then met the ground with the clang of toy guns, loose change chains a rain of cheers. Standing ovation on the platform of your neck punk ballet. Act 1. there is more to come. And who carved you? They took such care with that stately pose and propped chin. Wise and virtuous the plaque assured us. Victors wish history odourless and static but history is a sneaky mistress moves like smoke, Colston, like saliva in a hungry mouth. This is your rightful home here, in the pit of chaos with the rest of us. Take your twisted glory and feed it to the tadpoles. Kids will write raps to that syncopated splash. I think of you lying in that harbour with the horrors you hosted. There is no poem more succinct than that. But still you are permanent. You who perfected the ratio. Blood to sugar to money to bricks. Each bougie building we flaunt haunted by bones. Children learn and titans sing under the stubborn rust of your name. But the air is gently throbbing with newness. Can you feel it? Colston, I can’t get the sound of you from my head. Countless times I passed that plinth its heavy threat of metal and marble. But as you landed a piece of you fell off broke away and inside nothing but air. This whole time You were hollow.

Meanwhile, the night orbits in peace, graceful, lovely, having slipped her moorings, leaving the space unmarked, able to orbit, to curve firmly, until she sinks into the sweet clarity now pearling, the cushion of grasses where she will fall, gleaming from mysterious strokings, polished, glittering, mistress of surfaces.

And Mary preserve our mistresses from seeing us as we see ourselves.

LOVE DISLIKES NOTHING Whatsoever thing I see, Rich or poor although it be, —'Tis a mistress unto me. Be my girl or fair or brown, Does she smile, or does she frown; Still I write a sweet-heart down. Be she rough, or smooth of skin; When I touch, I then begin For to let affection in. Be she bald, or does she wear Locks incurl'd of other hair; I shall find enchantment there. Be she whole, or be she rent, So my fancy be content, She's to me most excellent. Be she fat, or be she lean; Be she sluttish, be she clean; I'm a man for every scene.

They walked until the death of night, Through many a misty world estranged, When they came back their names were changed, We could not tell them from delight.

Everywhere, noise and elbows. Poets stand on boxes and declaim while pilgrims throw coins at their feet. Some bards speak rajaz verses, their four-syllable metre suggested, according to legend, by the walking pace of the camel; others speak the qasidah, poems of wayward mistresses, desert adventure, the hunting of the onager.

Good Dog Blankets thrown off Lay her here Between us in bed Fur stroked Bodies wrapped Around waning warmth May it be so for me She whisperers One day Flanked by those Who treasure most My easy being A midnight vigil Eyes peeking At staggered breath Pup between mistress and man Finally, sleep A silly thing, Sighed the man To love so deep A kiss on the paws The merciful sorrow Of a life that mattered