No More Learning

_The Mother_
Folks think a witch who has familiar spirits
She _could_ call up to pass a winter evening,
But _won't_, should be burned at the stake or something.
Summoning spirits isn't "Button, button,
Who's got the button? " I'd have you understand.

_The Son_
Mother can make a common table rear
And kick with two legs like an army mule.

_The Mother_
And when I've done it, what good have I done?
Rather than tip a table for you, let me
Tell you what Ralle the Sioux Control once told me.
He said the dead had souls, but when I asked him
How that could be--I thought the dead were souls,
He broke my trance. Don't that make you suspicious
That there's something the dead are keeping back?
Yes, there's something the dead are keeping back.

_The Son_
You wouldn't want to tell him what we have
Up attic, mother?

_The Mother_
Bones--a skeleton.

_The Son_
But the headboard of mother's bed is pushed
Against the attic door: the door is nailed.
It's harmless. Mother hears it in the night
Halting perplexed behind the barrier
Of door and headboard. Where it wants to get
Is back into the cellar where it came from.

_The Mother_
We'll never let them, will we, son? We'll never!

_The Son_
It left the cellar forty years ago
And carried itself like a pile of dishes
Up one flight from the cellar to the kitchen,
Another from the kitchen to the bedroom,
Another from the bedroom to the attic,
Right past both father and mother, and neither stopped it.
Father had gone upstairs; mother was downstairs.
I was a baby: I don't know where I was.

_The Mother_
The only fault my husband found with me--
I went to sleep before I went to bed,
Especially in winter when the bed
Might just as well be ice and the clothes snow.
The night the bones came up the cellar-stairs
Toffile had gone to bed alone and left me,
But left an open door to cool the room off
So as to sort of turn me out of it.
I was just coming to myself enough
To wonder where the cold was coming from,
When I heard Toffile upstairs in the bedroom
And thought I heard him downstairs in the cellar.
The board we had laid down to walk dry-shod on
When there was water in the cellar in spring
Struck the hard cellar bottom. And then some one
Began the stairs, two footsteps for each step,
The way a man with one leg and a crutch,
Or little child, comes up. It wasn't Toffile:
It wasn't any one who could be there.
The bulkhead double-doors were double-locked
And swollen tight and buried under snow.
The cellar windows were banked up with sawdust
And swollen tight and buried under snow.
It was the bones. I knew them--and good reason.
My first impulse was to get to the knob
And hold the door. But the bones didn't try
The door; they halted helpless on the landing,
Waiting for things to happen in their favor.
The faintest restless rustling ran all through them.
I never could have done the thing I did
If the wish hadn't been too strong in me
To see how they were mounted for this walk.
I had a vision of them put together
Not like a man, but like a chandelier.
So suddenly I flung the door wide on him.
A moment he stood balancing with emotion,
And all but lost himself. (A tongue of fire
Flashed out and licked along his upper teeth.
Smoke rolled inside the sockets of his eyes. )
Then he came at me with one hand outstretched,
The way he did in life once; but this time
I struck the hand off brittle on the floor,
And fell back from him on the floor myself.
The finger-pieces slid in all directions.
(Where did I see one of those pieces lately?
Hand me my button-box--it must be there. )
I sat up on the floor and shouted, "Toffile,
It's coming up to you. " It had its choice
Of the door to the cellar or the hall.
It took the hall door for the novelty,
And set off briskly for so slow a thing,
Still going every which way in the joints, though,
So that it looked like lightning or a scribble,
From the slap I had just now given its hand.
I listened till it almost climbed the stairs
From the hall to the only finished bedroom,
Before I got up to do anything;
Then ran and shouted, "Shut the bedroom door,
Toffile, for my sake! " "Company," he said,
"Don't make me get up; I'm too warm in bed. "
So lying forward weakly on the handrail
I pushed myself upstairs, and in the light
(The kitchen had been dark) I had to own
I could see nothing. "Toffile, I don't see it.
It's with us in the room, though. It's the bones. "
"What bones? " "The cellar bones--out of the grave. "

* * * * *

That made him throw his bare legs out of bed
And sit up by me and take hold of me.
I wanted to put out the light and see
If I could see it, or else mow the room,
With our arms at the level of our knees,
And bring the chalk-pile down. "I'll tell you what--
It's looking for another door to try.
The uncommonly deep snow has made him think
Of his old song, _The Wild Colonial Boy_,
He always used to sing along the tote-road.
He's after an open door to get out-doors.
Let's trap him with an open door up attic. "
Toffile agreed to that, and sure enough,
Almost the moment he was given an opening,
The steps began to climb the attic stairs.
I heard them. Toffile didn't seem to hear them.
"Quick! " I slammed to the door and held the knob.
"Toffile, get nails. " I made him nail the door shut,
And push the headboard of the bed against it.

Then we asked was there anything
Up attic that we'd ever want again.
The attic was less to us than the cellar.
If the bones liked the attic, let them like it,
Let them _stay_ in the attic. When they sometimes
Come down the stairs at night and stand perplexed
Behind the door and headboard of the bed,
Brushing their chalky skull with chalky fingers,
With sounds like the dry rattling of a shutter,
That's what I sit up in the dark to say--
To no one any more since Toffile died.
Let them stay in the attic since they went there.
I promised Toffile to be cruel to them
For helping them be cruel once to him.

_The Son_
We think they had a grave down in the cellar.

_The Mother_
We know they had a grave down in the cellar.

_The Son_
We never could find out whose bones they were.

_The Mother_
Yes, we could too, son. Tell the truth for once.
They were a man's his father killed for me.
I mean a man he killed instead of me.
The least I could do was to help dig their grave.
We were about it one night in the cellar.
Son knows the story: but 'twas not for him
To tell the truth, suppose the time had come.
Son looks surprised to see me end a lie
We'd kept up all these years between ourselves
So as to have it ready for outsiders.
But to-night I don't care enough to lie--
I don't remember why I ever cared.
Toffile, if he were here, I don't believe
Could tell you why he ever cared himself. . . .

She hadn't found the finger-bone she wanted
Among the buttons poured out in her lap.

I verified the name next morning: Toffile;
The rural letter-box said Toffile Lajway.




A BROOK IN THE CITY


The farm house lingers, though averse to square
With the new city street it has to wear
A number in. But what about the brook
That held the house as in an elbow-crook?
I ask as one who knew the brook, its strength
And impulse, having dipped a finger-length
And made it leap my knuckle, having tossed
A flower to try its currents where they crossed.
The meadow grass could be cemented down
From growing under pavements of a town;
The apple trees be sent to hearth-stone flame.
Is water wood to serve a brook the same?
How else dispose of an immortal force
No longer needed? Staunch it at its source
With cinder loads dumped down? The brook was thrown
Deep in a sewer dungeon under stone
In fetid darkness still to live and run--
And all for nothing it had ever done
Except forget to go in fear perhaps.
No one would know except for ancient maps
That such a brook ran water. But I wonder
If, from its being kept forever under,
These thoughts may not have risen that so keep
This new-built city from both work and sleep.




DESIGN


I found a dimpled spider, fat and white,
On a white heal-all, holding up a moth
Like a white piece of rigid satin cloth--
Assorted characters of death and blight
Mixed ready to begin the morning right,
Like the ingredients of a witches' broth--
A snow-drop spider, a flower like froth,
And dead wings carried like a paper kite.

What had that flower to do with being white,
The wayside blue and innocent heal-all?
What brought the kindred spider to that height,
Then steered the white moth thither in the night?
What but design of darkness to appal? --
If design govern in a thing so small.




CARL SANDBURG




AND SO TO-DAY


And so to-day--they lay him away--
the boy nobody knows the name of--
the buck private--the unknown soldier--
the doughboy who dug under and died
when they told him to--that's him.

Down Pennsylvania Avenue to-day the riders go,
men and boys riding horses, roses in their teeth,
stems of roses, rose leaf stalks, rose dark leaves--
the line of the green ends in a red rose flash.

Skeleton men and boys riding skeleton horses,
the rib bones shine, the rib bones curve,
shine with savage, elegant curves--
a jawbone runs with a long white slant,
a skull dome runs with a long white arch,
bone triangles click and rattle,
elbows, ankles, white line slants--
shining in the sun, past the White House,
past the Treasury Building, Army and Navy Buildings,
on to the mystic white Capitol Dome--
so they go down Pennsylvania Avenue to-day,
skeleton men and boys riding skeleton horses,
stems of roses in their teeth,
rose dark leaves at their white jaw slants--
and a horse laugh question nickers and whinnies,
moans with a whistle out of horse head teeth:
why? who? where?

("The big fish--eat the little fish--
the little fish--eat the shrimps--
and the shrimps--eat mud,"--
said a cadaverous man--with a black umbrella--
spotted with white polka dots--with a missing
ear--with a missing foot and arms--
with a missing sheath of muscles
singing to the silver sashes of the sun. )

And so to-day--they lay him away--
the boy nobody knows the name of--
the buck private--the unknown soldier--
the doughboy who dug under and died
when they told him to--that's him.

If he picked himself and said, "I am ready to die,"
if he gave his name and said, "My country, take me,"
then the baskets of roses to-day are for the Boy,
the flowers, the songs, the steamboat whistles,
the proclamations of the honorable orators,
they are all for the Boy--that's him.

If the government of the Republic picked him saying,
"You are wanted, your country takes you"--
if the Republic put a stethoscope to his heart
and looked at his teeth and tested his eyes and said,
"You are a citizen of the Republic and a sound
animal in all parts and functions--the Republic takes you"--
then to-day the baskets of flowers are all for the Republic,
the roses, the songs, the steamboat whistles,
the proclamations of the honorable orators--
they are all for the Republic.

And so to-day--they lay him away--
and an understanding goes--his long sleep shall be
under arms and arches near the Capitol Dome--
there is an authorization--he shall have tomb companions--
the martyred presidents of the Republic--
the buck private--the unknown soldier--that's him.

The man who was war commander of the armies of the Republic
rides down Pennsylvania Avenue--
The man who is peace commander of the armies of the Republic
rides down Pennsylvania Avenue--
for the sake of the Boy, for the sake of the Republic.

(And the hoofs of the skeleton horses
all drum soft on the asphalt footing--
so soft is the drumming, so soft the roll call
of the grinning sergeants calling the roll call--
so soft is it all--a camera man murmurs, "Moonshine. ")

Look--who salutes the coffin--
lays a wreath of remembrance
on the box where a buck private
sleeps a clean dry sleep at last--
look--it is the highest ranking general
of the officers of the armies of the Republic.

(Among pigeon corners of the Congressional Library--they
file documents quietly, casually, all in a day's work--
this human document, the buck private nobody knows the
name of--they file away in granite and steel--with music
and roses, salutes, proclamations of the honorable
orators. )

Across the country, between two ocean shore lines,
where cities cling to rail and water routes,
there people and horses stop in their foot tracks,
cars and wagons stop in their wheel tracks--
faces at street crossings shine with a silence
of eggs laid in a row on a pantry shelf--
among the ways and paths of the flow of the Republic
faces come to a standstill, sixty clockticks count--
in the name of the Boy, in the name of the Republic.

(A million faces a thousand miles from Pennsylvania Avenue
stay frozen with a look, a clocktick, a moment--
skeleton riders on skeleton horses--the nickering high horse
laugh,
the whinny and the howl up Pennsylvania Avenue:
who? why? where? )

(So people far from the asphalt footing of Pennsylvania
Avenue look, wonder, mumble--the riding white-jaw
phantoms ride hi-eeee, hi-eeee, hi-yi, hi-yi, hi-eeee--
the proclamations of the honorable orators mix with the
top-sergeants whistling the roll call. )

If when the clockticks counted sixty,
when the heartbeats of the Republic
came to a stop for a minute,
if the Boy had happened to sit up,
happening to sit up as Lazarus sat up, in the story,
then the first shivering language to drip off his mouth
might have come as, "Thank God," or "Am I dreaming? "
or "What the hell" or "When do we eat? "
or "Kill 'em, kill 'em, the. . . . "
or "Was that . . . a rat . . . ran over my face? "
or "For Christ's sake, gimme water, gimme water,"
or "Blub blub, bloo bloo. . . . "
or any bubbles of shell shock gibberish
from the gashes of No Man's Land.

Maybe some buddy knows,
some sister, mother, sweetheart,
maybe some girl who sat with him once
when a two-horn silver moon
slid on the peak of a house-roof gable,
and promises lived in the air of the night,
when the air was filled with promises,
when any little slip-shoe lovey
could pick a promise out of the air.

"Feed it to 'em,
they lap it up,
bull . . . bull . . . bull,"
Said a movie news reel camera man,
Said a Washington newspaper correspondent,
Said a baggage handler lugging a trunk,
Said a two-a-day vaudeville juggler,
Said a hanky-pank selling jumping-jacks.
"Hokum--they lap it up," said the bunch.

And a tall scar-face ball player,
Played out as a ball player,
Made a speech of his own for the hero boy,
Sent an earful of his own to the dead buck private:
"It's all safe now, buddy,
Safe when you say yes,
Safe for the yes-men. "

He was a tall scar-face battler
With his face in a newspaper
Reading want ads, reading jokes,
Reading love, murder, politics,
Jumping from jokes back to the want ads,
Reading the want ads first and last,
The letters of the word JOB, "J-O-B,"
Burnt like a shot of bootleg booze
In the bones of his head--
In the wish of his scar-face eyes.

The honorable orators,
Always the honorable orators,
Buttoning the buttons on their prinz alberts,
Pronouncing the syllables "sac-ri-fice,"
Juggling those bitter salt-soaked syllables--
Do they ever gag with hot ashes in their mouths?
Do their tongues ever shrivel with a pain of fire
Across those simple syllables "sac-ri-fice"?

(There was one orator people far off saw.
He had on a gunnysack shirt over his bones,
And he lifted an elbow socket over his head,
And he lifted a skinny signal finger.
And he had nothing to say, nothing easy--
He mentioned ten million men, mentioned them as having gone west,
mentioned them as shoving up the daisies.
We could write it all on a postage stamp, what he said.
He said it and quit and faded away,
A gunnysack shirt on his bones. )

Stars of the night sky,
did you see that phantom fadeout,
did you see those phantom riders,
skeleton riders on skeleton horses,
stems of roses in their teeth,
rose leaves red on white-jaw slants,
grinning along on Pennsylvania Avenue,
the top-sergeants calling roll calls--
did their horses nicker a horse laugh?
did the ghosts of the boney battalions
move out and on, up the Potomac, over on the Ohio
and out to the Mississippi, the Missouri, the Red River,
and down to the Rio Grande, and on to the Yazoo,
over to the Chattahoochee and up to the Rappahannock?
did you see 'em, stars of the night sky?

And so to-day--they lay him away--
the boy nobody knows the name of--
they lay him away in granite and steel--
with music and roses--under a flag--
under a sky of promises.




CALIFORNIA CITY LANDSCAPE


On a mountain-side the real estate agents
Put up signs marking the city lots to be sold there.
A man whose father and mother were Irish
Ran a goat farm half-way down the mountain;
He drove a covered wagon years ago,
Understood how to handle a rifle,
Shot grouse, buffalo, Indians, in a single year,
And now was raising goats around a shanty.
Down at the foot of the mountain
Two Japanese families had flower farms.
A man and woman were in rows of sweet peas
Picking the pink and white flowers
To put in baskets and take to the Los Angeles market.
They were clean as what they handled
There in the morning sun, the big people and the baby-faces.
Across the road, high on another mountain,
Stood a house saying, "I am it," a commanding house.
There was the home of a motion picture director
Famous for lavish whore-house interiors,
Clothes ransacked from the latest designs for women
In the combats of "male against female. "
The mountain, the scenery, the layout of the landscape,
And the peace of the morning sun as it happened,
The miles of houses pocketed in the valley beyond--
It was all worth looking at, worth wondering about,
How long it might last, how young it might be.




UPSTREAM


The strong men keep coming on.
They go down shot, hanged, sick, broken.
They live on, fighting, singing, lucky as plungers.

The strong men . . . they keep coming on.
The strong mothers pulling them from a dark sea, a great prairie, a
long mountain.

Call hallelujah, call amen, call deep thanks.
The strong men keep coming on.




WINDFLOWER LEAF


This flower is repeated
out of old winds, out of
old times.

The wind repeats these, it
must have these, over and
over again.

Oh, windflowers so fresh,
Oh, beautiful leaves, here
now again.

The domes over
fall to pieces.
The stones under
fall to pieces.
Rain and ice
wreck the works.
The wind keeps, the windflowers
keep, the leaves last,
The wind young and strong lets
these last longer than stones.




VACHEL LINDSAY




IN PRAISE OF JOHNNY APPLESEED[1]

(_Born 1775. Died 1847_)

[Footnote 1: The best account of John Chapman's career, under the name
"Johnny Appleseed," is to be found in _Harper's Monthly Magazine_,
November, 1871. ]


I. ~Over the Appalachian Barricade~

[Sidenote: _To be read like old leaves on the elm tree of Time.
Sifting soft winds with sentence and rhyme_. ]

In the days of President Washington,
The glory of the nations,
Dust and ashes,
Snow and sleet,
And hay and oats and wheat,
Blew west,
Crossed the Appalachians,
Found the glades of rotting leaves, the soft deer-pastures,
The farms of the far-off future
In the forest.
Colts jumped the fence,
Snorting, ramping, snapping, sniffing,
With gastronomic calculations,
Crossed the Appalachians,
The east walls of our citadel,
And turned to gold-horned unicorns,
Feasting in the dim, volunteer farms of the forest.
Stripedest, kickingest kittens escaped,
Caterwauling "Yankee Doodle Dandy,"
Renounced their poor relations,
Crossed the Appalachians,
And turned to tiny tigers
In the humorous forest.
Chickens escaped
From farmyard congregations,
Crossed the Appalachians,
And turned to amber trumpets
On the ramparts of our Hoosiers' nest and citadel,
Millennial heralds
Of the foggy mazy forest.
Pigs broke loose, scrambled west,
Scorned their loathsome stations,
Crossed the Appalachians,
Turned to roaming, foaming wild boars
Of the forest.
The smallest, blindest puppies toddled west
While their eyes were coming open,
And, with misty observations,
Crossed the Appalachians,
Barked, barked, barked
At the glow-worms and the marsh lights and the lightning-bugs,
And turned to ravening wolves
Of the forest.
Crazy parrots and canaries flew west,
Drunk on May-time revelations,
Crossed the Appalachians,
And turned to delirious, flower-dressed fairies
Of the lazy forest.
Haughtiest swans and peacocks swept west,
And, despite soft derivations,
Crossed the Appalachians,
And turned to blazing warrior souls
Of the forest,
Singing the ways
Of the Ancient of Days.
And the "Old Continentals
In their ragged regimentals,"
With bard's imaginations,
Crossed the Appalachians.
And
A boy
Blew west
And with prayers and incantations,
And with "Yankee Doodle Dandy,"
Crossed the Appalachians,
And was "young John Chapman,"
Then
"Johnny Appleseed, Johnny Appleseed,"
Chief of the fastnesses, dappled and vast,
In a pack on his back,
In a deer-hide sack,
The beautiful orchards of the past,
The ghosts of all the forests and the groves--
In that pack on his back,
In that talisman sack,
To-morrow's peaches, pears and cherries,
To-morrow's grapes and red raspberries,
Seeds and tree souls, precious things,
Feathered with microscopic wings,
All the outdoors the child heart knows,
And the apple, green, red, and white,
Sun of his day and his night--
The apple allied to the thorn,
Child of the rose.
Porches untrod of forest houses
All before him, all day long,
"Yankee Doodle" his marching song;
And the evening breeze
Joined his psalms of praise
As he sang the ways
Of the Ancient of Days.

Leaving behind august Virginia,
Proud Massachusetts, and proud Maine,
Planting the trees that would march and train
On, in his name to the great Pacific,
Like Birnam wood to Dunsinane,
Johnny Appleseed swept on,
Every shackle gone,
Loving every sloshy brake,
Loving every skunk and snake,
Loving every leathery weed,
Johnny Appleseed, Johnny Appleseed,
Master and ruler of the unicorn-ramping forest,
The tiger-mewing forest,
The rooster-trumpeting, boar-foaming, wolf-ravening forest,
The spirit-haunted, fairy-enchanted forest,
Stupendous and endless,
Searching its perilous ways
In the name of the Ancient of Days.


III. ~The Indians Worship Him, but He hurries on~

Painted kings in the midst of the clearing
Heard him asking his friends the eagles
To guard each planted seed and seedling.
Then he was a god, to the red man's dreaming;
Then the chiefs brought treasures grotesque and fair,--
Magical trinkets and pipes and guns,
Beads and furs from their medicine-lair,--
Stuck holy feathers in his hair,
Hailed him with austere delight.
The orchard god was their guest through the night.

While the late snow blew from bleak Lake Erie,
Scourging rock and river and reed,
All night long they made great medicine
For Jonathan Chapman,
Johnny Appleseed,
Johnny Appleseed;
And as though his heart were a wind-blown wheat-sheaf,
As though his heart were a new-built nest,
As though their heaven house were his breast,
In swept the snow-birds singing glory.
And I hear his bird heart beat its story,
Hear yet how the ghost of the forest shivers,
Hear yet the cry of the gray, old orchards,
Dim and decaying by the rivers,
And the timid wings of the bird-ghosts beating,
And the ghosts of the tom-toms beating, beating.

[Sidenote: _While you read, hear the hoof-beats of deer in the snow.
And see, by their track, bleeding footprints we know. _]

But he left their wigwams and their love.
By the hour of dawn he was proud and stark,
Kissed the Indian babes with a sigh,
Went forth to live on roots and bark,
Sleep in the trees, while the years howled by--

Calling the catamounts by name,
And buffalo bulls no hand could tame,
Slaying never a living creature,
Joining the birds in every game,
With the gorgeous turkey gobblers mocking,
With the lean-necked eagles boxing and shouting;
Sticking their feathers in his hair,--
Turkey feathers,
Eagle feathers,--
Trading hearts with all beasts and weathers
He swept on, winged and wonder-crested,
Bare-armed, barefooted, and bare-breasted.

[Sidenote: _While you read, see conventions of deer go by.
The bucks toss their horns, the fuzzy fawns fly. _]

The maples, shedding their spinning seeds,
Called to his appleseeds in the ground,
Vast chestnut-trees, with their butterfly nations,
Called to his seeds without a sound.
And the chipmunk turned a "summer-set,"
And the foxes danced the Virginia reel;
Hawthorne and crab-thorn bent, rain-wet,
And dropped their flowers in his night-black hair;
And the soft fawns stopped for his perorations;
And his black eyes shone through the forest-gleam,
And he plunged young hands into new-turned earth,
And prayed dear orchard boughs into birth;
And he ran with the rabbit and slept with the stream.
And he ran with the rabbit and slept with the stream.
And so for us he made great medicine,
And so for us he made great medicine,
In the days of President Washington.


III. ~Johnny Appleseed's Old Age~


[Sidenote: _To be read
like faint
hoof-beats
of fawns
long gone
From respectable
pasture, and
park and
lawn,
And heartbeats
of
fawns that
are coming
again
When the
forest, once
more, is the
master of
men. _]

Long, long after,
When settlers put up beam and rafter,
They asked of the birds: "Who gave this fruit?
Who watched this fence till the seeds took root?
Who gave these boughs? " They asked the sky,
And there was no reply.
But the robin might have said,
"To the farthest West he has followed the sun,
His life and his empire just begun. "

Self-scourged, like a monk, with a throne for wages,
Stripped like the iron-souled Hindu sages,
Draped like a statue, in strings like a scarecrow,
His helmet-hat an old tin pan,
But worn in the love of the heart of man,
More sane than the helm of Tamerlane,
Hairy Ainu, wild man of Borneo, Robinson Crusoe--Johnny Appleseed;
And the robin might have said,
"Sowing, he goes to the far, new West,
With the apple, the sun of his burning breast--
The apple allied to the thorn,
Child of the rose. "

Washington buried in Virginia,
Jackson buried in Tennessee,
Young Lincoln, brooding in Illinois,
And Johnny Appleseed, priestly and free,
Knotted and gnarled, past seventy years,
Still planted on in the woods alone.
Ohio and young Indiana--
These were his wide altar-stone,
Where still he burnt out flesh and bone.
Twenty days ahead of the Indian, twenty years ahead of the white
man,
At last the Indian overtook him, at last the Indian hurried past
him;
At last the white man overtook him, at last the white man hurried
past him;
At last his own trees overtook him, at last his own trees hurried
past him.
Many cats were tame again,
Many ponies tame again,
Many pigs were tame again,
Many canaries tame again;
And the real frontier was his sun-burnt breast.

From the fiery core of that apple, the earth,
Sprang apple-amaranths divine.
Love's orchards climbed to the heavens of the West,
And snowed the earthly sod with flowers.
Farm hands from the terraces of the blest
Danced on the mists with their ladies fine;
And Johnny Appleseed laughed with his dreams,
And swam once more the ice-cold streams.
And the doves of the spirit swept through the hours,
With doom-calls, love-calls, death-calls, dream-calls;
And Johnny Appleseed, all that year,
Lifted his hands to the farm-filled sky,
To the apple-harvesters busy on high;
And so once more his youth began,
And so for us he made great medicine--
Johnny Appleseed, medicine-man.
Then
The sun was his turned-up broken barrel,
Out of which his juicy apples rolled,
Down the repeated terraces,
Thumping across the gold,
An angel in each apple that touched the forest mold,
A ballot-box in each apple,
A state capital in each apple,
Great high schools, great colleges,
All America in each apple,
Each red, rich, round, and bouncing moon
That touched the forest mold.
Like scrolls and rolled-up flags of silk,
He saw the fruits unfold,
And all our expectations in one wild-flower-written dream,
Confusion and death sweetness, and a thicket of crab-thorns,
Heart of a hundred midnights, heart of the merciful morns.
Heaven's boughs bent down with their alchemy,
Perfumed airs, and thoughts of wonder.
And the dew on the grass and his own cold tears
Were one in brooding mystery,
Though death's loud thunder came upon him,
Though death's loud thunder struck him down--
The boughs and the proud thoughts swept through the thunder,
Till he saw our wide nation, each State a flower,
Each petal a park for holy feet,
With wild fawns merry on every street,
With wild fawns merry on every street,
The vista of ten thousand years, flower-lighted and complete.

Hear the lazy weeds murmuring, bays and rivers whispering,
From Michigan to Texas, California to Maine;
Listen to the eagles, screaming, calling,
"Johnny Appleseed, Johnny Appleseed,"
There by the doors of old Fort Wayne.

In the four-poster bed Johnny Appleseed built,
Autumn rains were the curtains, autumn leaves were the quilt.
He laid him down sweetly, and slept through the night,
Like a bump on a log, like a stone washed white,
There by the doors of old Fort Wayne.




I KNOW ALL THIS WHEN GIPSY FIDDLES CRY


Oh, gipsies, proud and stiff-necked and perverse,
Saying: "We tell the fortunes of the nations,
And revel in the deep palm of the world.
The head-line is the road we choose for trade.
The love-line is the lane wherein we camp.
The life-line is the road we wander on.
Mount Venus, Jupiter, and all the rest
Are finger-tips of ranges clasping round
And holding up the Romany's wide sky. "

Oh, gipsies, proud and stiff-necked and perverse,
Saying: "We will swap horses till the doom,
And mend the pots and kettles of mankind,
And lend our sons to big-time vaudeville,
Or to the race-track, or the learned world.
But India's Brahma waits within their breasts.
They will return to us with gipsy grins,
And chatter Romany, and shake their curls
And hug the dirtiest babies in the camp.
They will return to the moving pillar of smoke,
The whitest toothed, the merriest laughers known,
The blackest haired of all the tribes of men.
What trap can hold such cats? The Romany
Has crossed such delicate palms with lead or gold,
Wheedling in sun and rain, through perilous years,
All coins now look alike. The palm is all.
Our greasy pack of cards is still the book
Most read of men. The heart's librarians,
We tell all lovers what they want to know.
So, out of the famed Chicago Library,
Out of the great Chicago orchestras,
Out of the skyscraper, the Fine Arts Building,
Our sons will come with fiddles and with loot,
Dressed, as of old, like turkey-cocks and zebras,
Like tiger-lilies and chameleons,
Go west with us to California,
Telling the fortunes of the bleeding world,
And kiss the sunset, ere their day is done. "

Oh, gipsies, proud and stiff-necked and perverse,
Picking the brains and pockets of mankind,
You will go westward for one-half hour yet.
You will turn eastward in a little while.
You will go back, as men turn to Kentucky,
Land of their fathers, dark and bloody ground.
When all the Jews go home to Syria,
When Chinese cooks go back to Canton, China,
When Japanese photographers return
With their black cameras to Tokio,
And Irish patriots to Donegal,
And Scotch accountants back to Edinburgh,
You will go back to India, whence you came.
When you have reached the borders of your quest,
Homesick at last, by many a devious way,
Winding the wonderlands circuitous,
By foot and horse will trace the long way back!
Fiddling for ocean liners, while the dance
Sweeps through the decks, your brown tribes all will go!
Those east-bound ships will hear your long farewell
On fiddle, piccolo, and flute and timbrel.
I know all this, when gipsy fiddles cry.

That hour of their homesickness, I myself
Will turn, will say farewell to Illinois,
To old Kentucky and Virginia,
And go with them to India, whence they came.
For they have heard a singing from the Ganges,
And cries of orioles,--from the temple caves,--
And Bengal's oldest, humblest villages.
They smell the supper smokes of Amritsar.
Green monkeys cry in Sanskrit to their souls
From lofty bamboo trees of hot Madras.
They think of towns to ease their feverish eyes,
And make them stand and meditate forever,
Domes of astonishment, to heal the mind.
I know all this, when gipsy fiddles cry.

What music will be blended with the wind
When gipsy fiddlers, nearing that old land,
Bring tunes from all the world to Brahma's house?
Passing the Indus, winding poisonous forests,
Blowing soft flutes at scandalous temple girls,
Filling the highways with their magpie loot,
What brass from my Chicago will they heap,
What gems from Walla Walla, Omaha,
Will they pile near the Bodhi Tree, and laugh?
They will dance near such temples as best suit them,
Though they will not quite enter, or adore,
Looking on roofs, as poets look on lilies,
Looking at towers, as boys at forest vines,
That leap to tree-tops through the dizzy air.
I know all this, when gipsy fiddles cry.

And with the gipsies there will be a king
And a thousand desperadoes just his style,
With all their rags dyed in the blood of roses,
Splashed with the blood of angels, and of demons.
And he will boss them with an awful voice.
And with a red whip he will beat his wife.
He will be wicked on that sacred shore,
And rattle cruel spurs against the rocks,
And shake Calcutta's walls with circus bugles.
He will kill Brahmins there, in Kali's name,
And please the thugs, and blood-drunk of the earth.
I know all this, when gipsy fiddles cry.

Oh, sweating thieves, and hard-boiled scalawags,
That still will boast your pride until the doom,
Smashing every caste rule of the world,
Reaching at last your Hindu goal to smash
The caste rules of old India, and shout:
"Down with the Brahmins, let the Romany reign. "

When gipsy girls look deep within my hand
They always speak so tenderly and say
That I am one of those star-crossed to wed
A princess in a forest fairy-tale.
So there will be a tender gipsy princess,
My Juliet, shining through this clan.
And I would sing you of her beauty now.
And I will fight with knives the gipsy man
Who tries to steal her wild young heart away.
And I will kiss her in the waterfalls,
And at the rainbow's end, and in the incense
That curls about the feet of sleeping gods,
And sing with her in canebrakes and in rice fields,
In Romany, eternal Romany.
We will sow secret herbs, and plant old roses,
And fumble through dark, snaky palaces,
Stable our ponies in the Taj Mahal,
And sleep out-doors ourselves.
In her strange fairy mill-wheel eyes will wait
All windings and unwindings of the highways,
From India, across America,--
All windings and unwindings of my fancy,
All windings and unwindings of all souls,
All windings and unwindings of the heavens.
I know all this, when gipsy fiddles cry.

We gipsies, proud and stiff-necked and perverse,
Standing upon the white Himalayas,
Will think of far divine Yosemite.
We will heal Hindu hermits there with oil
Brought from California's tall sequoias.
And we will be like gods that heap the thunders,
And start young redwood trees on Time's own mountains.
We will swap horses with the rising moon,
And mend that funny skillet called Orion,
Color the stars like San Francisco's street-lights,
And paint our sign and signature on high
In planets like a bed of crimson pansies;
While a million fiddles shake all listening hearts,
Crying good fortune to the Universe,
Whispering adventure to the Ganges waves,
And to the spirits, and all winds and gods.
Till mighty Brahma puts his golden palm
Within the gipsy king's great striped tent,
And asks his fortune told by that great love-line
That winds across his palm in splendid flame.

Only the hearthstone of old India
Will end the endless march of gipsy feet.
I will go back to India with them
When they go back to India whence they came.
I know all this, when gipsy fiddles cry.




JAMES OPPENHEIM




HEBREWS


I come of a mighty race. . . . I come of a very mighty race. . . .
Adam was a mighty man, and Noah a captain of the moving waters,
Moses was a stern and splendid king, yea, so was Moses. . . .
Give me more songs like David's to shake my throat to the pit of the
belly,
And let me roll in the Isaiah thunder. . . .

Ho! the mightiest of our young men was born under a star in the
midwinter. . . .
His name is written on the sun and it is frosted on the moon. . . .
Earth breathes him like an eternal spring: he is a second sky over
the Earth.

Mighty race! mighty race! --my flesh, my flesh
Is a cup of song,
Is a well in Asia. . . .
I go about with a dark heart where the Ages sit in a divine
thunder. . . .
My blood is cymbal-clashed and the anklets of the dancers tinkle
there. . . .
Harp and psaltery, harp and psaltery make drunk my spirit. . . .
I am of the terrible people, I am of the strange Hebrews. . . .
Amongst the swarms fixed like the rooted stars, my folk is a
streaming Comet,
Comet of the Asian tiger-darkness,
The Wanderer of Eternity, the eternal Wandering Jew. . . .

Ho! we have turned against the mightiest of our young men
And in that denial we have taken on the Christ,
And the two thieves beside the Christ,
And the Magdalen at the feet of the Christ,
And the Judas with thirty silver pieces selling the Christ,--
And our twenty centuries in Europe have the shape of a Cross
On which we have hung in disaster and glory. . . .

Mighty race! mighty race! --my flesh, my flesh
Is a cup of song,
Is a well in Asia.




ALFRED KREYMBORG




ADAGIO: A DUET

(_For J. S. and L. U. _)


Should you
lay ear to these lines--
you will not catch
a distant drum of hoofs,
cavalcade of Arabians,
passionate horde bearing down,
destroying your citadel--
but maybe you'll hear--
should you just
listen at the right place,
hold it tenaciously,
give your full blood to the effort--
maybe you'll note the start
of a single step,
always persistently faint,
wavering in its movement
between coming and going,
never quite arriving,
never quite passing--
and tell me which it is,
you or I
that you greet,
searching a mutual being--
and whether two aren't closer
for the labor of an ear?




DIE KUCHE


She lets the hydrant water run:
He fancies lonely, banal,
bald-headed mountains,
affected by the daily
caress of the tropical sun,
weeping tears the length of brooks
down their faces and flanks.
She lets the hydrant water run:
He hearkens Father Sebastian
cooking and spreading homely themes
over an inept-looking clavier
confounding the wits of his children
and all men's children
down to the last generation.
He marvels at the paradox,
drums his head with the tattoo:
how can a thing as small as he
shape and maintain an art
out of himself universal enough
to carry her daily vigil
to crystalled immortality?
She lets the hydrant water run.




RAIN


It's all very well for you
suddenly to withdraw
and say, I'll come again,
but what of the bruises you've left,
what of the green and the blue,
the yellow, purple and violet? --
don't you be telling us,
I'm innocent of these,
irresponsible of happenings--
didn't we see you steal next to her,
tenderly,
with your silver mist about you
to hide your blandishment? --
now, what of what followed, eh? --
we saw you hover close,
caress her,
open her pore-cups,
make a cross of her,
quickly penetrate her--
she opening to you,
engulfing you,
every limb of her,
bud of her, pore of her? --
don't call these things, kisses--
mouth-kisses, hand-kisses,
elbow, knee and toe,
and let it go at that--
disappear and promise
what you'll never perform:
we've known you to slink away
until drought-time,
drooping-time,
withering-time:
we've caught you crawling off
into winter-time,
try to cover what you've done
with a long white scarf--
your own frozen tears
(likely phrase! )
and lilt your,
I'll be back in spring!
Next spring, and you know it,
she won't be the same,
though she may look the same
to you from where you are,
and invite you down again!




PEASANT


It's the mixture of peasantry
makes him so slow.
He waggles his head
before he speaks,
like a cow
before she crops.
He bends to the habit
of dragging his feet
up under him,
like a measuring-worm:
some of his forefathers,
stooped over books,
ruled short straight lines
under two rows of figures
to keep their thin savings
from sifting to the floor.
Should you strike him
with a question,
he will blink twice or thrice
and roll his head about,
like an owl
in the pin-pricks
of a dawn he cannot see.
There is mighty little flesh
about his bones,
there is no gusto
in his stride:
he seems to wait
for the blow on the buttocks
that will drive him
another step forward--
step forward to what?
There is no land,
no house,
no barn,
he has ever owned;
he sits uncomfortable
on chairs
you might invite him to:
if you did,
he'd keep his hat in hand
against the moment
when some silent pause
for which he hearkens
with his ear to one side
bids him move on--
move on where?
It doesn't matter.
He has learned
to shrug his shoulders,
so he'll shrug his shoulders now:
caterpillars do it
when they're halted by a stick.
Is there a sky overhead? --
a hope worth flying to? --
birds may know about it,
but it's birds
that birds descend from.




BUBBLES


You had best be very cautious how
you say, I love you.
If you accent the I,
she has an opening for,
who are you
to strut on ahead
and hint there aren't others,
aren't, weren't and won't be?
Blurt out the love,
she has suspicion for, so? --
why not hitherto? --
what brings you bragging now? --
and what'll it be hereafter?
Defer to the you,
she has certitude for, me?
thanks, lad! --
but why argue about it? --
or fancy I'm lonesome? --
do I look as though you had to?
And having determined how
you'll say it,
you had next best ascertain whom
it is that you say it to.