For The Marriage of Faustus and Helen

Harold Hart Crane 1899 (Garrettsville, Ohio) – 1932 (Gulf of Mexico)



'
And so we may arrive by Talmud skill
And profane Greek to raise the building up
Of Helen's house against the Ismaelite,
King of Thogarma, and his habergeons
Brimstony, blue and fiery; and the force
Of King A baddon, and the beast of Cittim;
Which Rabbi David Kimchi, Onkelos,
And A ben Ezra do interpret Rome.
'
-THE ALCHEMIST.
I

The mind has shown itself at times
Too much the baked and labeled dough
Divided by accepted multitudes.
Across the stacked partitions of the day-
Across the memoranda, baseball scores,
The stenographic smiles and stock quotations
Smutty wings flash out equivocations.

The mind is brushed by sparrow wings;
Numbers, rebuffed by asphalt, crowd
The margins of the day, accent the curbs,
Convoying divers dawns on every' corner
To druggist, barber and tobacconist,
Until the graduate opacities of evening
Take them away as suddenly to somewhere
Virginal perhaps, less fragmentary, cool.
There is the world dimensional for
those untwisted by the love of things
irreconcilable…
And yet, suppose some evening I forgot
The fare and transfer, yet got by that way
Without recall,-lost yet poised in traffic.
Then I might find your eyes across an aisle,
Still flickering with those prefigurations-
Prodigal, yet uncontested now,
Half-riant before the jerky window frame.

There is some way, I think, to touch
Those hands of yours that count the nights
Stippled with pink and green advertisements.
And now, before its arteries turn dark
I would have you meet this bartered blood.
Imminent in his dream, none better knows
The white wafer cheek of love, or offers words
Lightly as moonlight on the eaves meets snow.

Reflective conversion of all things
At your deep blush, when ecstasies thread
The limbs and belly, when rainbows spread
Impinging on the throat and sides
Inevitable, the body of the world
Weeps in inventive dust for the hiatus
That winks above it', bluet in your breasts.

The earth may glide diaphanous to death;
But if I lift my arms it is to bend
To you who turned away once, Helen, knowing
The press of troubled hands, too alternate
With steel and soil to hold you endlessly.
I meet you, therefore, in that eventual flame
You found in final chains, no captive then
Beyond their million brittle, bloodshot eyes;
White, through white cities passed on to assume
That world which comes to each of us alone.

Accept a lone eye riveted to your plane,
Bent axle of devotion along companion ways
That beat, continuous, to hourless days-
0ne inconspicuous, glowing orb of praise.

II

Brazen hypnotics glitter here;
Glee shifts from foot to foot,
Magnetic to their tremulo.
This crashing opera bouffe,
Blest excursion! this ricochet
From roof to roof-
Know, Olympians, we are breathless
While n*gger cupids scour the stars!

A thousand light shrugs balance us
Through snarling hails of melody.
White shadows slip across the floor
Splayed like cards from a loose hand;
Rhythmic ellipses lead into canters
Until somewhere a rooster banters.

Greet naively-yet intrepidly
New soothings, new amazements
That cornets introduce at every turn-
And you may fall downstairs with me
With perfect grace and equanimity.
Or, plaintively scud past shores
Where, by strange harmonic laws
All relatives, serene and cool,
Sit rocked in patent armchairs.

0, I have known metallic paradises
Where cuckoos clucked to finches
Above the deft catastrophes of drums.
While titters hailed the groans of death
Beneath gyrating awnings I have seen

The incunabula of the divine grotesque.
This music has a reassuring way,

The siren of the ' springs of guilty song-
Let us take her on the incandescent wax
Striated with nuances nervosities
That we are heir to: she is still so young,
She cannot frown upon her as she smiles,
Dipping here in this cultivated storm
Among slim skaters of the gardened skies.

III

Capped arbiter of beauty in this street
That narrows -darkly into motor dawn,
You, here beside m/e, delicate ambassador
Of intricate slain numbers that arise
In whispers, naked of steel;
religious gunman!
Who faithfully, yourself, will fall too soon,
And in other ways than as the wind settles
On the sixteen thrifty bridges of the city:
Let us unbind our throats of fear and pity.

We even,
Who drove sp
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Submitted on May 13, 2011

Modified on March 17, 2023

3:31 min read
127

Quick analysis:

Scheme ABCDDEDE CX DCDCDDD DCDFCGXHIDXCJXXDXE XDDXCDDX DCCDCDD KCGCLEXDEX XDDD XCAMCMDD DCICDD LDXECDDHD DDDKX XJ XDDXDED CXFDXXXDCC XB
Closest metre Iambic pentameter
Characters 4,204
Words 707
Stanzas 15
Stanza Lengths 12, 7, 18, 8, 7, 10, 4, 8, 6, 9, 5, 2, 7, 10, 2

Harold Hart Crane

Harold Hart Crane was an American poet. Finding both inspiration and provocation in the poetry of T. S. Eliot, Crane wrote modernist poetry that was difficult, highly stylized, and ambitious in its scope. In his most ambitious work, The Bridge, Crane sought to write an epic poem, in the vein of The Waste Land, that expressed a more optimistic view of modern, urban culture than the one that he found in Eliot's work. In the years following his suicide at the age of 32, Crane has been hailed by playwrights, poets, and literary critics alike (including Robert Lowell, Derek Walcott, Tennessee Williams, and Harold Bloom), as being one of the most influential poets of his generation.  more…

All Harold Hart Crane poems | Harold Hart Crane Books

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