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Anthony Evan Hecht

Clair de Lune

Powder and scent and silence. The young dwarf
Shoulders his lute. The moon is Levantine.
It settles its pearl in every glass of wine.
Harlequin is already at the wharf.


The gallant is masked. A pressure of his thumb
Communicates cutaneous interest.
On the smooth upward swelling of a breast
A small black heart is fixed with spirit gum.


The thieving moment is now. Deftly, Pierrot
Exits, bearing a tray of fruits and coins.
A monkey, chained by his tiny loins,
Is taken aboard. They let their moorings go.


Silence. Even the god shall soon be gone.
Shadows, in their cool, tidal enterprise,

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The Dover Bitch: A Criticism Of Life

So there stood Matthew Arnold and this girl
With the cliffs of England crumbling away behind them,
And he said to her, 'Try to be true to me,
And I'll do the same for you, for things are bad
All over, etc., etc.'
Well now, I knew this girl. It's true she had read
Sophocles in a fairly good translation
And caught that bitter allusion to the sea,
But all the time he was talking she had in mind
the notion of what his whiskers would feel like
On the back of her neck. She told me later on
That after a while she got to looking out
At the lights across the channel, and really felt sad,
Thinking of all the wine and enormous beds
And blandishments in French and the perfumes.
And then she got really angry. To have been brought
All the way down from London, and then be addressed
As sort of a mournful cosmic last resort
Is really tough on a girl, and she was pretty.
Anyway, she watched him pace the room

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More Light! More Light!

For Heinrich Blucher and Hannah Arendt
Composed in the Tower before his execution
These moving verses, and being brought at that time
Painfully to the stake, submitted, declaring thus:
"I implore my God to witness that I have made no crime."

Nor was he forsaken of courage, but the death was horrible,
The sack of gunpowder failing to ignite.
His legs were blistered sticks on which the black sap
Bubbled and burst as he howled for the Kindly Light.

And that was but one, and by no means one of he worst;
Permitted at least his pitiful dignity;
And such as were by made prayers in the name of Christ,
That shall judge all men, for his soul's tranquility.

We move now to outside a German wood.
Three men are there commanded to dig a hole
In which the two Jews are ordered to lie down
And be buried alive by the third, who is a Pole.

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After The Rain [for W. D. Snodgrass]

The barbed-wire fences rust
As their cedar uprights blacken
After a night of rain.
Some early, innocent lust
Gets me outdoors to smell
The teasle, the pelted bracken,
The cold, mossed-over well,
Rank with its iron chain,


And takes me off for a stroll.
Wetness has taken over.
From drain and creeper twine
It’s runnelled and trenched and edged
A pebbled serpentine
Secretly, as though pledged
To attain a difficult goal
And join some important river.

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A Hill

In Italy, where this sort of thing can occur,
I had a vision once - though you understand
It was nothing at all like Dante's, or the visions of saints,
And perhaps not a vision at all. I was with some friends,
Picking my way through a warm sunlit piazza
In the early morning. A clear fretwork of shadows
From huge umbrellas littered the pavement and made
A sort of lucent shallows in which was moored
A small navy of carts. Books, coins, old maps,
Cheap landscapes and ugly religious prints
Were all on sale. The colors and noise
Like the flying hands were gestures of exultation,
So that even the bargaining
Rose to the ear like a voluble godliness.
And then, where it happened, the noises suddenly stopped,
And it got darker; pushcarts and people dissolved
And even the great Farnese Palace itself
Was gone, for all its marble; in its place
Was a hill, mole-colored and bare. It was very cold,
Close to freezing, with a promise of snow.

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The Feast Of Stephen

I


The coltish horseplay of the locker room,
Moist with the steam of the tiled shower stalls,
With shameless blends of civet, musk and sweat,
Loud with the cap-gun snapping of wet towels
Under the steel-ribbed cages of bare bulbs,
In some such setting of thick basement pipes
And janitorial realities
Boys for the first time frankly eye each other,
Inspect each others’ bodies at close range,
And what they see is not so much another
As a strange, possible version of themselves,
And all the sparring dance, adrenal life,
Tense, jubilant nimbleness, is but a vague,
Busy, unfocused ballet of self-love.

II

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Eclogue Of The Shepherd And The Townie

SHEPHERD


Not the blue-fountained Florida hotel,
Bell-capped, bellevued, straight-jacketed and decked
With chromium palms and a fromage of moon,
Not goodnight chocolates, nor the soothing slide
Of huîtres and sentinel straight-up martinis,
Neither the yacht heraldic nor the stretch
Limos and pants, Swiss banks or Alpine stocks
Shall solace you, or quiet the long pain
Of cold ancestral disinheritance,
Severing your friendly commerce with the beasts,
Gone, lapsed, and cancelled, rendered obsolete
As the gonfalon of Bessarabia,
The shawm, the jitney, the equestrian order,
The dark daguerreotypes of Paradise.

TOWNIE

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The Deodand

What are these women up to? They’ve gone and strung
Drapes over the windows, cutting out light
And the slightest hope of a breeze here in mid-August.
Can this be simply to avoid being seen
By some prying femme-de-chambre across the boulevard
Who has stepped out on a balcony to disburse
Her dustmop gleanings on the summer air?
And what of these rugs and pillows, all haphazard,
Here in what might be someone’s living room
In the swank, high-toned sixteenth arrondissement?
What would their fathers, husbands, fiancés,
Those pillars of the old haute-bourgeoisie,
Think of the strange charade now in the making?
Swathed in exotic finery, in loose silks,
Gauzy organzas with metallic threads,
Intricate Arab vests, brass ornaments
At wrist and ankle, those small sexual fetters,
Tight little silver chains, and bangled gold
Suspended like a coarse barbarian treasure
From soft earlobes pierced through symbolically,

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The Ghost In The Martini

Over the rim of the glass
Containing a good martini with a twist
I eye her bosom and consider a pass,
Certain we’d not be missed

In the general hubbub.
Her lips, which I forgot to say, are superb,
Never stop babbling once (Aye, there’s the ru
But who would want to curb

Such delicious, artful flattery?
It seems she adores my work, the distinguished grey
Of my hair. I muse on the salt and battery
Of the sexual clinch, and say

Something terse and gruff
About the marked disparity in our ages.
She looks like twenty-three, though eager enough.
As for the famous wages

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Peripeteia

Of course, the familiar rustling of programs,
My hair mussed from behind by a grand gesture
Of mink. A little craning about to see
If anyone I know is in the audience,
And, as the house fills up,
A mild relief that no one there knows me.
A certain amount of getting up and down
From my aisle seat to let the others in.
Then my eyes wander briefly over the cast,
Management, stand-ins, make-up men, designers,
Perfume and liquor ads, and rise prayerlike
To the false heaven of rosetted lights,
The stucco lyres and emblems of high art
That promise, with crude Broadway honesty,
Something less than perfection:
Two bulbs are missing and Apollo’s bored.


And then the cool, drawn-out anticipation,
Not of the play itself, but the false dusk

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