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. That you're sure she's the one, that there'll never be another, never was one before. And having determined whom and having learned how, when you bring these together, inform the far of the intimate— like a bubble on a pond, emerging from below, round wonderment completed by the first sight of the sky— what good will it do, if she shouldn't, I love you?— a bubble's but a bubble once, a bubble grows to die.

DIRGE

Death alone has sympathy for weariness: understanding of the ways of mathematics: of the struggle against giving up what was given: the plus one minus one of nitrogen for oxygen: and the unequal odds, you a cell against the universe, a breath or two against all time: Death alone takes what is left without protest, criticism or a demand for more than one can give who can give no more than was given: doesn't even ask, but accepts it as it is, without examination, valuation, or comparison.