DARKNESS
I.
Aurora's ship has moored itself: her sister's skies have fallen down,
The spaces where the secret creatures huddle in black kingdoms
Drowse; the depths of solstice wears the always distant crown
Of astral fires, making glimmers on the innocent dominions
Of a forest wreathed in solitudes as tender as a wounding rose.
In places where a boy who bears my face will walk the lights
Carouse, to show blank violation of a doe who, in her torn clothes,
Has passed last respirations, at the bloodhunt of perspirant nights.
The sweat among the hiding ones is suckled by unshown furs,
In haunts and burrows too near to be seen, amid the slipshod sedge:
The threadbare cloak of undergrowth wears coronets of furze,
That heal in places, misplaced, grazing at the water's edge.
Attached to torn leaves are orphaned husks where silence floats,
The cast-off shells of butterflies that bear reminder of the flown:
These fractured cups of brittle twig go off in pools of flower-floats,
Memoriam to flightish things that rise from view and die unknown.
II.
Now what was groomed by first dawn's haze has grown its halo
From the liquid pools of filtered light, abandoned at the death
Of the lást hóur's height, the close wood walls its hollow,
Sealed in by dark nearness of the sky's departing breath.
Now twilight has departed care and rests in its own violet seams,
An orchid sits upon the midnight air, ánd whispers ín its hymn,
As she lifts up to be ravished by the pearled rays of moonbeams,
That fall on her shawl like infant milk to touch her starlit quim.
Cool light inside its soft abode upon her neck of emerald
Plays cupid to her velvet furls, lit up in its transparent spars:
And, bathed below the pale allure of Luna in her huntress world,
She slides herself to sleep beneath the semen of the stars.
As nightfall wreathes descending dreams she turns aside and shivers:
The blank face of a china doll, that faces rain in earthbound herds,
From where it wilts upon its bed of mud come months and withers,
To where the backdrift of the river stalls in clusters of dead birds.
III.
Against the lone ascending moon it's only the tides that surface,
As the heirs to its transparent court, with only its face as maid.
Is it the last wet twigs of April brake repulse me with their weakness,
Or the senseless growth of age-long oaks that makes me feel afraid?
Black ooze of brook, I cannot linger, not here where my hand descends,
Where no impression on the surface casts reflection on my gaze,
Or seeks to imprint anything: just silent frames, that face their ends,
Lost whippoorwills that swoon away, where stagnant currents laze
In broken dross and feathers; where I've stayed, I have forgotten:
Here beneath the spider-limbs of sterile trees where darkness weeps,
Come cloths of frost reflecting where the resting ether finds its den,
Come nights the day makes derelict, of bright and stillborn deeps.
Against it all the orchids watch, with stalks that taste the starless sleet,
That wait to waste away when days sail over with the morning's rot,
That find their most becomely face inside their final windingsheet,
To make hoar-frozen plaints for wind's songs gone: they have forgot.
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Oh, boy, this is a really old one. I wrote this 14 years ago, at the age of 24. It was during my French symbolist phase, at around the same period as my drink-using became quite heavy, I was suffering from romantic rejection and too much publisher rejection and my world was closing in.
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I loved so many images here. *
The rhythm of this is lovely. I would like so much to hear it read aloud. The writing is so smooth and fresh, I did not even notice the rhyme scheme for some time. Unusual and carefully crafted.
Thanks. Funny you should mention that about the rhyme scheme. It's invisibility was deliberate. I'd been reading Rimbaud and Baudelaire from the French, though I'm not French fluent, and was aware that in French poetry, like Italian, the rhymes are usually completely non-intrusive. My metre at this period was meant to be completely unintrusive also, even though it's technically accurate. I was trying to get past the usual iambic basis of English metrical verse. Shortly afterwards, I discovered the Pre-Raphaelites, but as much as I still love Pre-Raphaelite poetry my showy rhyme and metre configurations during that period produced arguably my worst work.