As they let mirrors
dress them up,
surely quite a few of them
cannot help but wonder:
“Truly is this how gods
made me, and for whom?
And if so and if the god is he,
how else or with what else
do I need to help him?”
Czech poet abroad Vladimír Suchan Česká poezie
As they let mirrors
dress them up,
surely quite a few of them
cannot help but wonder:
“Truly is this how gods
made me, and for whom?
And if so and if the god is he,
how else or with what else
do I need to help him?”
A classic scene: a woman by a well.
But how many ages do we need to pass
along with many passings-away
before someone steps in and stops
to ask: “Which of the two is deeper?”
But to know the answer, there’s much
one must remember: underneath
the stillness of the well
there is—there still has to be—
yet a deeper bristling spring.
A spring that cracks even the hardest
and the highest of the mountains
to prove that its clarity takes
after light and speech,
and many steps past
any mortal counting
it takes to attain one day
at that one step
when at last what the soul
wants you to hear, she puts on your lips:
“Are we deep enough
for one another—or at least
as deep as a well that goes
as down as where
water bearing a life’s gift
is as pure as gold may ever be,
and clarity and knowing
emerge as the arché
present and, therefore,
truly present for us within?
And if so, can we be to another
like that woman and her well,
ever as before and ever after,
even past this timeline’s
narrow rim—
almost as timeless as a temple,
a garden’s image set in stone,
both nearby and outside
some forgotten tomb
like those hermae may crown?
For if we meet, isn’t each
and every such one moment
a temple, garden, well,
never meant only for
a rush of walk-through,
but just for this—to step in
and stop so that love
and our soul grow deeper;
and no, no arrogance may enter
and savor such delights?
Or isn’t it written: we ought
to learn love as does a musician
or a thoughtful poet, since only thus
one can enter the sublime and its interval
the ages and more have conferred—fated?”
Worshipers in Japan bow and clap to gods,
and, in the clap of meeting hands,
entrance into the divine
is turned to sound,
and the sound, the air’s crack,
reaches from one’s heart
to the below and into the above
where the deathless hardly ever tapped
forks and curves to our fates,
their chartered path,
whereupon a thoughtful note
may come and melodically pulse
to pass — into the sheet of light
for fans of arms to sieve delight.
On the word of I Ching Hexagram X,
it seems many women sit
on a man’s “tiger’s tail”
and so do men, contrariwise,
on a tiger’s tail a woman
lies down behind—
where one, the joyous,
makes an open place,
a chance, for the other
to create, even as what poets do,
something of a happy mishap,
and if something bites, it should be
Love for whom arrows fill his pack,
and thus what is weak worries the strong,
and, in this game, the strong needs to give in.
For this is the way — to please the wild.
And perhaps it is just as right
that, on the tiger, the tail, if treaded well,
ought to be the most tractable part,
though people are fond to forget:
good manners better serve a love
as they fortify thinking of the heart,
thus stillness of the lake in clarity
holding on unmoved follows
Heaven and, in Heaven,
allows itself to be dressed as joy.
Almost noon and the fading moon
still afloat in the celestial froth
in the western azimuth —
but now feigning that she is
not more but another trifling cloud
among other ephemeral gasps —
at least for those whose gaze
either quickly passes by
or barely lifts off the ground:
since what else is there to be seen,
up in the sky — when, there by the sea,
all’s daubed and shaded in whites and blues,
and some tense birds, picking, pecking chasers
into Aphrodite’s foam, are then rushed in turn?
Instead of taking the path
of the main approach
that came into my view
only at the very end,
like a goat I climbed
a steep slope of the hill
of the ancient ruins
of Syllaeum or Sillyon
with its many dried-up wells
or cisterns on the top
and an occasional spring
still gushing from old cracks.
And thus I circled round the town
searching for its theater
to see it swanning
with its rowing seats,
and only after much of wandering
I saw it last and found its fate:
the whole theater had crushed
down from the hill in 1969—
forty-four years before, being there pulled,
I came to see that site at last;
only some Odeon rows remained—
few feathers that had failed to fall.