All the world's a stage,

And all the men and women merely players;

They have their exits and their entrances,

And one man in his time plays many parts,

His acts being seven ages. At first, the infant,

Mewling and puking in the nurse's arms.

Then the whining schoolboy, with his satchel

And shining morning face, creeping like snail

Unwillingly to school. And then the lover,

Sighing like furnace, with a woeful ballad

Made to his mistress' eyebrow. Then a soldier,

Full of strange oaths and bearded like the pard,

Jealous in honor, sudden and quick in quarrel,

Seeking the bubble reputation

Even in the cannon's mouth. And then the justice,

In fair round belly with good capon lined,

With eyes severe and beard of formal cut,

Full of wise saws and modern instances;

And so he plays his part. The sixth age shifts

Into the lean and slippered pantaloon,

With spectacles on nose and pouch on side;

His youthful hose, well saved, a world too wide

For his shrunk shank, and his big manly voice,

Turning again toward childish treble, pipes

And whistles in his sound. Last scene of all,

That ends this strange eventful history,

Is second childishness and mere oblivion,

Sans teeth, sans eyes, sans taste, sans everything.

In your extended absence, you permit me 

use of earth, anticipating

some return on investment. I must report 

failure in my assignment, principally 

regarding the tomato plants.

I think I should not be encouraged to grow 

tomatoes. Or, if I am, you should withhold 

the heavy rains, the cold nights that come 

so often here, while other regions get 

twelve weeks of summer. All this 

belongs to you: on the other hand, 

I planted the seeds, I watched the first shoots 

like wings tearing the soil, and it was my heart 

broken by the blight, the black spot so quickly 

multiplying in the rows. I doubt

you have a heart, in our understanding of 

that term. You who do not discriminate 

between the dead and the living, who are, in consequence, 

immune to foreshadowing, you may not know 

how much terror we bear, the spotted leaf,

the red leaves of the maple falling

even in August, in early darkness: I am responsible 

for these vines.

Miracle's truck comes down the little avenue,

Scott Joplin ragtime strewn behind it like pearls,

and, yes, you can feel happy

with one piece of your heart.



Take what's still given: in a room's rich shadow

a woman's breasts swinging lightly as she bends.

Early now the pearl of dusk dissolves.

Late, you sit weighing the evening news,

fast-food miracles, ghostly revolutions,

the rest of your heart.

There is something dense, united, settled in the depths,

repeating its number, its identical sign.

How it is noted that stones have touched time,

in their refined matter there is an odor of age,

of water brought by the sea, from salt and sleep.

 

I'm encircled by a single thing, a single movement: 

a mineral weight, a honeyed light

cling to the sound of the word "noche":

the tint of wheat, of ivory, of tears,

things of leather, of wood, of wool,

archaic, faded, uniform,

collect around me like walls.



I work quietly, wheeling over myself,

a crow over death, a crow in mourning.

I mediate, isolated in the spread of seasons,

centric, encircled by a silent geometry:

a partial temperature drifts down from the sky,

a distant empire of confused unities

reunites encircling me.