Стихи и эссе

Оден Уистан Хью

1962

The Common Life

(for Chester Kallman)

A living-room, the catholic area you (Thou, rather) and I may enter without knocking, leave without a bow, confronts each visitor with a style, a secular faith: he compares its dogmas with his, and decides whether he would like to see more of us. (Spotless rooms where nothing's left lying about chill me, so do cups used for ash-trays or smeared with lip-stick: the homes I warm to, though seldom wealthy, always convey a feeling of bills being promptly settled with cheques that don't bounce.) There's no We at an instant, only Thou and I, two regions of protestant being which nowhere overlap: a room is too small, therefore, if its occupants cannot forget at will that they are not alone, too big if it gives them any excuse in a quarrel for raising their voices. What, quizzing ours, would Sherlock Holmes infer? Plainly, ours is a sitting culture in a generation which prefers comfort (or is forced to prefer it) to command, would rather incline its buttocks on a well-upholstered chair than the burly back of a slave: a quick glance at book-titles would tell him that we belong to the clerisy and spend much on our food. But could he read what our prayers and jokes are about, what creatures frighten us most, or what names head our roll-call of persons we would least like to go to bed with? What draws singular lives together in the first place, loneliness, lust, ambition, or mere convenience, is obvious, why they drop or murder one another clear enough: how they create, though, a common world between them, like Bombelli's impossible yet useful numbers, no one has yet explained. Still, they do manage to forgive impossible behavior, to endure by some miracle conversational tics and larval habits without wincing (were you to die, I should miss yours). It's a wonder that neither has been butchered by accident, or, as lots have, silently vanished into History's criminal noise unmourned for, but that, after twenty-four years, we should sit here in Austria as cater-cousins, under the glassy look of a Naples Bambino, the portrayed regards of Strauss and Stravinsky, doing British cross-word puzzles, is very odd indeed. I'm glad the builder gave our common-room small windows through which no observed outsider can observe us: every home should be a fortress, equipped with all the very latest engines for keeping Nature at bay, versed in all ancient magic, the arts of quelling the Dark Lord and his hungry animivorous chimaeras. (Any brute can buy a machine in a shop, but the sacred spells are secret to the kind, and if power is what we wish they won't work.) The ogre will come in any case: so Joyce has warned us. Howbeit, fasting or feasting, we both know this: without the Spirit we die, but life without the Letter is in the worst of taste, and always, though truth and love can never really differ, when they seem to, the subaltern should be truth.

1963

August 1968

The Ogre does what ogres can, Deeds quite impossible for Man, But one prize is beyond his reach, The Ogre cannot master Speech. About a subjugated plain, Among its desperate and slain, The Ogre stalks with hands on hips, While drivel gushes from his lips.

* 1968 *

Moon Landing

It's natural the Boys should whoop it up for so huge a phallic triumph, an adventure it would not have occurred to women to think worth while, made possible only because we like huddling in gangs and knowing the exact time: yes, our sex may in fairness hurrah the deed, although the motives that primed it were somewhat less than menschlich. A grand gesture. But what does it period? What does it osse? We were always adroiter with objects than lives, and more facile at courage than kindness: from the moment the first flint was flaked this landing was merely a matter of time. But our selves, like Adam's, still don't fit us exactly, modern only in this-our lack of decorum. Homer's heroes were certainly no braver than our Trio, but more fortunate: Hector was excused the insult of having his valor covered by television. Worth going to see? I can well believe it. Worth seeing? Mneh! I once rode through a desert and was not charmed: give me a watered lively garden, remote from blatherers about the New, the von Brauns and their ilk, where on August mornings I can count the morning glories where to die has a meaning, and no engine can shift my perspective. Unsmudged, thank God, my Moon still queens the Heavens as She ebbs and fulls, a Presence to glop at, Her Old Man, made of grit not protein, still visits my Austrian several with His old detachment, and the old warnings still have power to scare me: Hybris comes to an ugly finish, Irreverence is a greater oaf than Superstition. Our apparatniks will continue making the usual squalid mess called History: all we can pray for is that artists, chefs and saints may still appear to blithe it.

1969

River Profile

Our body is a moulded river

NOVALIS

Out of a bellicose fore-time, thundering head-on collisions of cloud and rock in an up-thrust, crevasse-and-avalanche, troll country, deadly to breathers, it whelms into our picture below the melt-line, where tarns lie frore under frowning cirques, goat-bell, wind-breaker, fishing-rod, miner's-lamp country, already at ease with the mien and gestures that become its kindness, in streams, still anonymous, still jumpable, flows as it should through any declining country in probing spirals. Soon of a size to be named and the cause of dirty in-fighting among rival agencies, down a steep stair, penstock-and-turbine country, it plunges ram-stam, to foam through a wriggling gorge incised in softer strata, hemmed between crags that nauntle heaven, robber-baron, tow-rope, portage-way country, nightmare of merchants. Disemboguing from foothills, now in hushed meanders, now in riffling braids, it vaunts across a senile plain, well-entered, chateau-and-cider-press country, its regal progress gallanted for a while by quibbling poplars, then by chimneys: led off to cool and launder retort, steam-hammer, gasometer country, it changes color. Polluted, bridged by girders, banked by concrete, now it bisects a polyglot metropolis, ticker-tape, taxi, brothel, foot-lights country, `a-la-mode always. Broadening or burrowing to the moon's phases, turbid with pulverised wastemantle, on through flatter, duller, hotter, cotton-gin country it scours, approaching the tidal mark where it puts off majesty, disintegrates, and through swamps of a delta, punting-pole, fowling-piece, oyster-tongs country, wearies to its final act of surrender, effacement, atonement in a huge amorphous aggregate no cuddled attractive child ever dreams of, non-country, image of death as a spherical dew-drop of life. Unlovely monsters, our tales believe, can be translated too, even as water, the selfless mother of all especials.

1966

A New Year Greeting

After an article by Mary J. Marples

in Scientific American, January, 1969

On this day tradition allots to taking stock of our lives, my greetings to all of you, Yeasts, Bacteria, Viruses, Aerobics and Anaerobics: A Very Happy New Year to all for whom my ectoderm is as Middle-Earth to me. For creatures your size I offer a free choice of habitat, so settle yourselves in the zone that suits you best, in the pools of my pores or the tropical forests of arm-pit and crotch, in the deserts of my fore-arms, or the cool woods of my scalp. Build colonies: I will supply adequate warmth and moisture, the sebum and lipids you need, on condition you never do me annoy with your presence, but behave as good guests should, not rioting into acne or athlete's-foot or a boil. Does my inner weather affect the surfaces where you live? Do unpredictable changes record my rocketing plunge from fairs when the mind is in tift and relevant thoughts occur to fouls when nothing will happen and no one calls and it rains. I should like to think that I make a not impossible world, but an Eden it cannot be: my games, my purposive acts, may turn to catastrophes there. If you were religious folk, how would your dramas justify unmerited suffering? By what myths would your priests account for the hurricanes that come twice every twenty-four hours, each time I dress or undress, when, clinging to keratin rafts, whole cities are swept away to perish in space, or the Flood that scalds to death when I bathe? Then, sooner or later, will dawn a Day of Apocalypse, when my mantle suddenly turns too cold, too rancid, for you, appetising to predators of a fiercer sort, and I am stripped of excuse and nimbus, a Past, subject to Judgement.

1969

"About suffering they were never wrong,"

About suffering they were never wrong, The Old Masters; how well, they understood Its human position; how it takes place While someone else is eating or opening a window or just walking dully along; How, when the aged are reverently, passionately waiting For the miraculous birth, there always must be Children who did not specially want it to happen, skating On a pond at the edge of the wood: They never forgot That even the dreadful martyrdom must run its course Anyhow in a corner, some untidy spot Where the dogs go on with their doggy life and the torturer's horse Scratches its innocent behind on a tree. In Breughel's Icarus, for instance: how everything turns away Quite leisurely from the disaster; the ploughman may Have heard the splash, the forsaken cry, But for him it was not an important failure; the sun shone As it had to on the white legs disappearing into the green Water; and the expensive delicate ship that must have seen Something amazing, a boy falling out of the sky, had somewhere to get to and sailed calmly on.

ARCHAEOLOGY

The archaeologist's spade delves into dwellings vacancied long ago, unearthing evidence of life-ways no one would dream of leading now, concerning which he has not much to say that he can prove: the lucky man! Knowledge may have its purposes, but guessing is always more fun than knowing. We do know that Man, from fear or affection, has always graved His dead. What disastered a city, volcanic effusion, fluvial outrage, or a human horde, agog for slaves and glory, is visually patent, and we're pretty sure that, as soon as palaces were built, their rulers though gluttoned on sex and blanded by flattery, must often have yawned. But do grain-pits signify a year of famine? Where a coin-series peters out, should we infer some major catastrophe? Maybe. Maybe. From murals and statues we get a glimpse of what the Old Ones bowed down to, but cannot conceit in what situations they blushed or shrugged their shoulders. Poets have learned us their myths, but just how did They take them? That's a stumper. When Norsemen heard thunder, did they seriously believe Thor was hammering? No, I'd say: I'd swear that men have always lounged in myths as Tall Stories, that their real earnest has been to grant excuses for ritual actions. Only in rites can we renounce our oddities and be truly entired. Not that all rites should be equally fonded: some are abominable. There's nothing the Crucified would like less than butchery to appease Him.

ROMAN WALL BLUES

Over the heather the wet wind blows, I've lice in my tunic and a cold in my nose. The rain comes pattering out of the sky, I'm a Wall soldier, I don't know why. The mist creeps over the hard grey stone, My girl's in Tungria; I sleep alone. Aulus goes hanging around her place, I don't like his manners, I don't like his face. Piso's a Christian, he worships a fish; There'd be no kissing if he had his wish. She gave me a ring but I diced it away; I want my girl and I want my pay. When I'm a veteran with only one eye I shall do nothing but look at the sky.

October 1937

EPITAPH ON A TYRANT

Perfection, of a kind, was what he was after, And the poetry he invented was easy to understand; He knew human folly like the back of his hand, And was greatly interested in armies and fleets; When he laughed, respectable senators burst with laughter, And when he cried the little children died in the streets. [137]

137

Похоже,

что последняя строка является инверсией слов известного американского историка Джона Мотли, сказанных о Вильгельме I Оранском, по прозвищу Молчаливый:

As long as he lived, he was the guilding-star of a whole brave nation, and when he died the little children cried in the streets. (J. L. Motley. The Rise of the Dutch Republic, pt. 6, ch. 7, 1856).

Фраза хрестоматийная, и Оден ее, конечно, знал.

January 1939

REFUGEE BLUES

Say this city has ten million souls, Some are living in mansions, some are living in holes: Yet there's no place for us, my dear, yet there's no place for us. Once we had a country and we thought it fair, Look in the atlas and you'll find it there: We cannot go there now, my dear, we cannot go there now. In the village churchyard there grows an old yew, Every spring it blossoms anew: Old passports can't do that, my dear, old passports can't do that. The consul banged the table and said, "If you've got no passport you're officially dead": But we are still alive, my dear, but we are still alive. Went to a committee; they offered me a chair; Asked me politely to return next year: But where shall we go to-day, my dear, but where shall we go to-day? Came to a public meeting; the speaker got up and said; "If we let them in, they will steal our daily bread": He was talking of you and me, my dear, he was talking of you and me. Thought I heard the thunder rumbling in the sky; It was Hitler over Europe, saying, "They must die": O we were in his mind, my dear, O we were in his mind. Saw a poodle in a jacket fastened with a pin, Saw a door opened and a cat let in: But they weren't German Jews, my dear, but they weren't German Jews. Went down the harbour and stood upon the quay, Saw the fish swimming as if they were free: Only ten feet away, my dear, only ten feet away. Walked through a wood, saw the birds in the trees; They had no politicians and sang at their ease: They weren't the human race, my dear, they weren't the human race. Dreamed I saw a building with a thousand floors, A thousand windows and a thousand doors: Not one of them was ours, my dear, not one of them was ours. Stood on a great plain in the falling snow; Ten thousand soldiers marched to and fro: Looking for you and me, my dear, looking for you and me.