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Friedrich Engels

Look at the Paris Commune. That was the Dictatorship of the Proletariat.

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Une Nuit A Paris

Part one: one night in paris
Bonjour monsieur
Paris really welcomes you
Its the best room in the house
Its forty francs a night, alright.
Its crazy, it isnt worth a centime
Ill take it!
Merci monsieur
Rouged lips in the gaslight
A great view of the hall
Thats the way the croissant crumbles after all
Paris is only one step away
Les girls are out on bail
Tres bien theres love for sale
Oh my cheri, wish you were mine
And Ill show you a wonderful time
For the price of a cheap champagne
Ill show it you once again
One night in paris
Is like a year in any other place
One night in paris
Will wipe the smile off your pretty face
One girl in paris
Is like loving every woman
One night in paris
One night in paris
One night in paris
May be your last!!!
Part two: the same night in paris
Is he gonna buy?
You wanna little culture?
Is he gonna pay?
Maybe monsieur is into photographs, non?
Or is he gonna fall in love
The all american way?
I got a watch wiz a beautiful swiss movement
Is he gonna buy?
Forget the watch, Ill show you a good time!'
Is he gonna pay?
Le connoisseur, want something different?
Or is he gonna fall in love
The all american way?
Oh you know you aint no casanova
You cant even do the bossa nova
Or the tango or the samba!
Though you are so very charming
No you aint no casanova
Is he gonna buy?
Is he gonna pay?
Or is he gonna fall in love

[...] Read more

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Job Networks and Enlightenment Rooms

The unemployed proletariat had just finished with the Centrelink’s rigmarole,
Of paper forms, and signing his name, and all the stuff the unemployed got to do.
Running around doing the paper chase, which is a part of the dole regime.
Next, it was the Job Networks, the employment organization now privatised.
A new dole treadmill for the unemployed, encouraging an attitude highly industrialized.

“Welcome to Job Network” the t.v. monitor said, on a recorded video machine.
“We are a privatized organization for the purpose of getting you into employment.
We are here to help you to find your talents, and potentials, to improve your
Abilities, so that you can re-enter the work force to have a life of independents.
This is far better than being on welfare forever with your dependants”.

The interviewers in the Job Network office were old grannies,
Complete with false colorings and artificial additives.
“I’m your case manager, I’m assigned to you, and you are here to sign a contract.
The Job Search And Activities Plan and responsibilities and employment to find.
To ensure you’re meeting your obligations to society not to be in your dole grind”.

The granny said.”Under governmental policies your association with us is for all life.”
Granny continued.“There will be no talk-back, yak-back, smart-back nor fart-back.
If we find you to be deficient in abilities, then you have to do a course of some sort.”
The proletariat looked a bit stunned said. “At my age, late forties, it's a bit late.”
Granny said. “It’s never too late to train.” she did not like his mind’s negative state.

The proletariat said to the false colored granny with artificial additives.
“I got a really bum hip, and with it I can't do much, and it seems I can't have a pension.
I’m not 97 per cent dead, nor can I work in a factory any more, it’s quite hopeless.”
Continuing. “I’m 49, over the hill and even at 40 no one is going to hire me any more”.
Granny said. “There’s anti-age-discrimination laws that help’s you in life furthermore.”

The proletariat bemused said. “Funny, I never heard. Daadaa-daatatitit-dududdaada-daaa”
THIS IS THE CHANNEL NINE NEWS, THE MOTORING ORGANIZATION
DISCRIMINATED AGAINST THIS MIDDLE AGED BLOKE FOR A CLERICAL
JOB AND THE ANTI-DISCRIMINATION BOARD IS TAKING ACTION.
FURTHERMORE ITS INTOLERABLE THE UNEMPLOYED CANT HAVE TRACTION.

This made grandma very angry, and she looked at the proletariat with contempt.
And said that the proletariat didn't want to work and had a severe attitude problem.
Grandma said it was about time to do a attitude course against negative attitudes.
It was being held in the same building in the “Enlightenment Room” for all dolies.
Grandma said it’s about time that the proletariats guard against their follies.

“Follies? ? I don’t think I have attitudes nor follies” The proletariat said, and continued.
“I lost my job due to imports from India, how can I possibly find work if Australia
Imports everything in untold billions of dollars worth of imported goods.
Further more, Australia has call centres and “IT” jobs in India, sucking all jobs out
Of Australia, so how could I possibly find work, faaarout.

Grandma was starting to become impatient with this proletariat smart arse.
“We have anti-discrimination laws against what you’re saying.”

[...] Read more

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Nazim Hikmet

Gioconda And Si-Ya-U

to the memory of my friend SI-YA-U,
whose head was cut off in Shanghai

A CLAIM

Renowned Leonardo's
world-famous
"La Gioconda"
has disappeared.
And in the space
vacated by the fugitive
a copy has been placed.

The poet inscribing
the present treatise
knows more than a little
about the fate
of the real Gioconda.
She fell in love
with a seductive
graceful youth:
a honey-tongued
almond-eyed Chinese
named SI-YA-U.
Gioconda ran off
after her lover;
Gioconda was burned
in a Chinese city.

I, Nazim Hikmet,
authority
on this matter,
thumbing my nose at friend and foe
five times a day,
undaunted,
claim
I can prove it;
if I can't,
I'll be ruined and banished
forever from the realm of poesy.

1928


Part One
Excerpts from Gioconda's Diary

15 March 1924: Paris, Louvre Museum

At last I am bored with the Louvre Museum.

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Monstrare

This house a dictatorship
Learn to shut your mouth and follow directions
Or receive punishments
For your treason

You get under my skin
And leave your marks
Like footprints in the snow
Except your boots are laced with a virus

'Cause you're making me sick

This house is a dictatorship
Follow the rules and shut your mouth
Or hear the mouth of the one
That controls you with force

Stand before the almighty and choke on your words
And tremble in fear as she screams, shouts
Yells and roars
Out of frustration

This house is a dictatorship
'Cause my voice is silenced,
My actions are limited,
My thoughts are undermined

Listen to yourself and
Listen to no one else
Because you're the 'boss'
Of this world

Or just the boss of this house

This house is a dictatorship
'Cause I'm chained to the fence
Like some wild animal
That can't be trusted

I wonder if you really trust me
Let alone understand me
'Cause if you don't,
What's the point of being a good child?

This house is a dictatorship
'Cause your word is always right
And mine is always wrong
Even though you're never right about everything

Nearing eighteen with the mind of an adult

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Guillaume Apollinaire

Vendémiaire

Hommes de l'avenir souvenez-vous de moi
Je vivais à l'époque où finissaient les rois
Tour à tour ils mouraient silencieux et tristes
Et trois fois courageux devenaient trismégistes

Que Paris était beau à la fin de septembre
Chaque nuit devenait une vigne où les pampres
Répandaient leur clarté sur la ville et là-haut
Astres mûrs becquetés par les ivres oiseaux
De ma gloire attendaient la vendange de l'aube

Un soir passant le long des quais déserts et sombres
En rentrant à Auteuil j'entendis une voix
Qui chantait gravement se taisant quelquefois
Pour que parvînt aussi sur les bords de la Seine
La plainte d'autres voix limpides et lointaines

Et j'écoutai longtemps tous ces chants et ces cris
Qu'éveillait dans la nuit la chanson de Paris

J'ai soif villes de France et d'Europe et du monde
Venez toutes couler dans ma gorge profonde

Je vis alors que déjà ivre dans la vigne
Paris Vendangeait le raisin le plus doux de la terre
Ces grains miraculeux qui aux treilles chantèrent

Et Rennes répondit avec Quimper et Vannes
Nous voici ô Paris Nos maisons nos habitants
Ces grappes de nos sens qu'enfanta le soleil
Se sacrifient pour te désaltérer trop avide merveille
Nous t'apportons tous les cerveaux les cimetières les murailles
Ces berceaux pleins de cris que tu n'entendras pas
Et d'amont en aval nos pensées ô rivières
Les oreilles des écoles et nos mains rapprochées
Aux doigts allongés nos mains les clochers

Et nous t'apportons aussi cette souple raison
Que le mystère clôt comme une porte la maison
Ce mystère courtois de la galanterie
Ce mystère fatal fatal d'une autre vie
Double raison qui est au-delà de la beauté
Et que la Grèce n'a pas connue ni l'Orient
Double raison de la Bretagne où lame à lame
L'océan châtre peu à peu l'ancien continent

Et les villes du Nord répondirent gaiement

Ô Paris nous voici boissons vivantes
Les viriles cités où dégoisent et chantent

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Elizabeth Barrett Browning

Sixth Book

THE English have a scornful insular way
Of calling the French light. The levity
Is in the judgment only, which yet stands;
For say a foolish thing but oft enough,
(And here's the secret of a hundred creeds,–
Men get opinions as boys learn to spell,
By re-iteration chiefly) the same thing
Shall pass at least for absolutely wise,
And not with fools exclusively. And so,
We say the French are light, as if we said
The cat mews, or the milch-cow gives us milk:
Say rather, cats are milked, and milch cows mew,
For what is lightness but inconsequence,
Vague fluctuation 'twixt effect and cause,
Compelled by neither? Is a bullet light,
That dashes from the gun-mouth, while the eye
Winks, and the heart beats one, to flatten itself
To a wafer on the white speck on a wall
A hundred paces off? Even so direct,
So sternly undivertible of aim,
Is this French people.
All idealists
Too absolute and earnest, with them all
The idea of a knife cuts real flesh;
And still, devouring the safe interval
Which Nature placed between the thought and act,
They threaten conflagration to the world
And rush with most unscrupulous logic on
Impossible practice. Set your orators
To blow upon them with loud windy mouths
Through watchword phrases, jest or sentiment,
Which drive our burley brutal English mobs
Like so much chaff, whichever way they blow,–
This light French people will not thus be driven.
They turn indeed; but then they turn upon
Some central pivot of their thought and choice,
And veer out by the force of holding fast.
That's hard to understand, for Englishmen
Unused to abstract questions, and untrained
To trace the involutions, valve by valve,
In each orbed bulb-root of a general truth,
And mark what subtly fine integument
Divides opposed compartments. Freedom's self
Comes concrete to us, to be understood,
Fixed in a feudal form incarnately
To suit our ways of thought and reverence,
The special form, with us, being still the thing.
With us, I say, though I'm of Italy
My mother's birth and grave, by father's grave
And memory; let it be,–a poet's heart

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Oenone

There lies a vale in Ida, lovelier
Than all the valleys of Ionian hills.
The swimming vapour slopes athwart the glen,
Puts forth an arm, and creeps from pine to pine,
And loiters, slowly drawn. On either hand
The lawns and meadow-ledges midway down
Hang rich in flowers, and far below them roars
The long brook falling thro' the clov'n ravine
In cataract after cataract to the sea.
Behind the valley topmost Gargarus
Stands up and takes the morning: but in front
The gorges, opening wide apart, reveal
Troas and Ilion's column'd citadel,
The crown of Troas. Hither came at noon
Mournful Œnone, wandering forlorn
Of Paris, once her playmate on the hills.
Her cheek had lost the rose, and round her neck
Floated her hair or seem'd to float in rest.
She, leaning on a fragment twined with vine,
Sang to the stillness, till the mountain-shade
Sloped downward to her seat from the upper cliff.

"O mother Ida, many-fountain'd Ida,
Dear mother Ida, harken ere I die.
For now the noonday quiet holds the hill:
The grasshopper is silent in the grass:
The lizard, with his shadow on the stone,
Rests like a shadow, and the winds are dead.
The purple flower droops: the golden bee
Is lily-cradled: I alone awake.
My eyes are full of tears, my heart of love,
My heart is breaking, and my eyes are dim,
And I am all aweary of my life.

"O mother Ida, many-fountain'd Ida,
Dear mother Ida, harken ere I die.
Hear me, O Earth, hear me, O Hills, O Caves
That house the cold crown'd snake! O mountain brooks,
I am the daughter of a River-God,
Hear me, for I will speak, and build up all
My sorrow with my song, as yonder walls
Rose slowly to a music slowly breathed,
A cloud that gather'd shape: for it may be
That, while I speak of it, a little while
My heart may wander from its deeper woe.

"O mother Ida, many-fountain'd Ida,
Dear mother Ida, harken ere I die.
I waited underneath the dawning hills,
Aloft the mountain lawn was dewy-dark,

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Œnone

. There lies a vale in Ida, lovelier
Than all the valleys of Ionian hills.
The swimming vapour slopes athwart the glen,
Puts forth an arm, and creeps from pine to pine,
And loiters, slowly drawn. On either hand
The lawns and meadow-ledges midway down
Hang rich in flowers, and far below them roars
The long brook falling thro' the clov'n ravine
In cataract after cataract to the sea.
Behind the valley topmost Gargarus
Stands up and takes the morning: but in front
The gorges, opening wide apart, reveal
Troas and Ilion's column'd citadel,
The crown of Troas. Hither came at noon
Mournful Œnone, wandering forlorn
Of Paris, once her playmate on the hills.
Her cheek had lost the rose, and round her neck
Floated her hair or seem'd to float in rest.
She, leaning on a fragment twined with vine,
Sang to the stillness, till the mountain-shade
Sloped downward to her seat from the upper cliff.

'O mother Ida, many-fountain'd Ida,
Dear mother Ida, harken ere I die.
For now the noonday quiet holds the hill:
The grasshopper is silent in the grass:
The lizard, with his shadow on the stone,
Rests like a shadow, and the winds are dead.
The purple flower droops: the golden bee
Is lily-cradled: I alone awake.
My eyes are full of tears, my heart of love,
My heart is breaking, and my eyes are dim,
And I am all aweary of my life.

'O mother Ida, many-fountain'd Ida,
Dear mother Ida, harken ere I die.
Hear me, O Earth, hear me, O Hills, O Caves
That house the cold crown'd snake! O mountain brooks,
I am the daughter of a River-God,
Hear me, for I will speak, and build up all
My sorrow with my song, as yonder walls
Rose slowly to a music slowly breathed,
A cloud that gather'd shape: for it may be
That, while I speak of it, a little while
My heart may wander from its deeper woe.

'O mother Ida, many-fountain'd Ida,
Dear mother Ida, harken ere I die.
I waited underneath the dawning hills,
Aloft the mountain lawn was dewy-dark,

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Dictatorship, the most extreme form of tyranny, can never lead to social liberation. In Russia, the so-called dictatorship of the proletariat has not led to Socialism, but to the domination of a new bureaucracy over the proletariat and the whole people. … What the Russian autocrats and their supporters fear most is that the success of libertarian Socialism in Spain might prove to their blind followers that the much vaunted "necessity of dictatorship" is nothing but one vast fraud which in Russia has led to the despotism of Stalin and is to serve today in Spain to help the counter-revolution to a victory over the revolution of the workers and the peasants.

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Paris, Please Accept Me, As A Human Refugee

paris................
o paris................
Y paris................
the patience, eating the happiness
the pain, eating the patience
and the pain, eating the pain
I AM SICK, paris
treat me, sister
paris................
o paris................
Y paris................
exile, on my papers
restrained, ..
in my lines
so free me, paris
treat me, paris
I BELONG TO YOU, ..
sister
my home, the colours of MONET
my room, is a water flower
my air..
is the scent of FRANCE
and my refuge..
is a place by RENOIR shrine
so take me paris..
as your..
renoirian..
REFUGEE.

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In Paris With You

Don't talk to me of love. I've had an earful
And I get tearful when I've downed a drink or two.
I'm one of your talking wounded.
I'm a hostage. I'm maroonded.
But I'm in Paris with you.

Yes I'm angry at the way I've been bamboozled
And resentful at the mess I've been through.
I admit I'm on the rebound
And I don't care where are we bound.
I'm in Paris with you.

Do you mind if we do not go to the Louvre
If we say sod off to sodding Notre Dame,
If we skip the Champs Elysées
And remain here in this sleazy

Old hotel room
Doing this and that
To what and whom
Learning who you are,
Learning what I am.

Don't talk to me of love. Let's talk of Paris,
The little bit of Paris in our view.
There's that crack across the ceiling
And the hotel walls are peeling
And I'm in Paris with you.

Don't talk to me of love. Let's talk of Paris.
I'm in Paris with the slightest thing you do.
I'm in Paris with your eyes, your mouth,
I'm in Paris with... all points south.
Am I embarrassing you?
I'm in Paris with you.

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The Vision Of Piers Plowman - Part 10

Thanne hadde Wit a wif, was hote Dame Studie,
That lene was of lere and of liche bothe.
She was wonderly wroth that Wit me thus taughte,
And al staiynge Dame Studie sterneliche seide.
'Wel artow wis,' quod she to Wit, 'any wisdomes to telle
To flatereres or to fooles that frenetike ben of wittes!' -
And blamed hym and banned hym and bad hym be stille -
'With swiche wise wordes to wissen any sottes!'
And seide, ' Nolite mittere, man, margery perles
Among hogges that han hawes at wille.
Thei doon but dryvele theron - draf were hem levere
Than al the precious perree that in paradis wexeth.
I seye it by swiche,' quod she, 'that sheweth by hir werkes
That hem were levere lond and lordshipe on erthe,
Or richesse or rentes and reste at hir wille
Than alle the sooth sawes that Salamon seide evere.

'Wisdom and wit now is noght worth a kerse
But if it be carded with coveitise as clotheres kemben hir wolle.
Whoso can contreve deceites and conspire wronges
And lede forth a loveday to lette with truthe - .
That swiche craftes kan to counseil [are] cleped ;
Thei lede lordes with lesynges and bilieth truthe.
' Job the gentile in hise gestes witnesseth
That wikked men, thei welden the welthe of this worlde,
And that thei ben lordes of ech a lond, that out of lawe libbeth
Quare impii vivunt ? bene est omnibus qui prevaricantur et inique agunt ?
'The Sauter seith the same by swiche that doon ille
Ecce ipsi peccatores habundantes in seculo obtinuerunt divicias.
' Lo!' seith holy lettrure, ' whiche lordes beth thise sherewes!'
Thilke that God moost gyveth, leest good thei deleth,
And moost unkynde to the commune, that moost catel weldeth
Que perfecisti destruxerunt, iustus autem &c.
'Harlotes for hir harlotrie may have of hir goodes,
And japeris and jogelours and jangleris of gestes;
Ac he that hath Holy Writ ay in his mouthe
And kan telle of Tobye and of the twelve Apostles
Or prechen of the penaunce that Pilat wroghte
To Jesu the gentile, that Jewes todrowe -
Litel is he loved that swich a lesson sheweth,
Or daunted or drawe forth - I do it on God hymselve!
'But thoo that feynen hem foolis and with faityng libbeth
Ayein the lawe of Oure Lord, and lyen on hemselve,
Spitten and spuen and speke foule wordes,
Drynken and drevelen and do men for to gape,
Likne men and lye on hem that leneth hem no yiftes -
Thei konne na moore mynstralcie ne musik men to glade

Than Munde the Millere of Multa fecit Deus.
Ne were hir vile harlotrye, have God my trouthe,

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S-e-x-x-y

Dressed only in clothes
From her head to her toes
This is the way
The talking part goes
S-e-x-x-y
More than enough
Around the clock with nobody else
S-e-x-x-y
There she is
Standing on the bed
Cookie in one hand, wig on her head
S-e-x-x-y
X because its extra baby
Y because its extra baby
Unnoticed by few
Very very few
And that includes you
Look inside your mind
Look inside your eye
Secret agent spy, come to see why
S-e-x-x-y
One finger nail
Across your back
Babys first gold tooth initials inscribed
S-e-x-x-y
X because its extra baby
Y because its extra baby
You gotta understand
She wants to be your man
Shes got another plan
Notes
The infamous warren rigg microwave remix goes as follows:
S-e-x-x-y
S-e-x-x-y
S-e-x-x-y
S-e-x-x-y
S-e-x-x-y
S-e-x-x-y
S-e-x-x-y
S-e-x-x-y
S-e-x-x-y
S-e-x-x-y
S-e-x-x-y
S-e-x-x-y
S-e-x-x-y
S-e-x-x-y
S-e-x-x-y
S-e-x-x-y
S-e-x-x-y s-e-x-x-y
S-e-x-x-y s-e-x-x-y

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I Love Paris

Every time I look down on this timeless town,
Whether blue or gray be her skies,
Whether loud be her cheers, or whether soft be her tears,
More and more do I realize that...
I love paris in the spring time
I love paris in the fall
I love paris in the summer when it sizzles
I
Love paris in the winter when it drizzles
I love paris every moment
Every moment of the year
I love
Paris, why oh why do I love paris
Because my love is here

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I Love Paris

Nat king cole
(cole porter)
(can-can)
Every time I look down on this timeless town
Whether blue or gray be her skies.
Whether loud be her cheers or soft be her tears,
More and more do I realize:
I love paris in the springtime.
I love paris in the fall.
I love paris in the winter when it drizzles,
I love paris in the summer when it sizzles.
I love paris every moment,
Every moment of the year.
I love paris, why, oh why do I love paris?
Because my love is near.

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Charles Baudelaire

Le Cygne (The Swan)

À Victor Hugo

I

Andromaque, je pense à vous! Ce petit fleuve,
Pauvre et triste miroir où jadis resplendit
L'immense majesté de vos douleurs de veuve,
Ce Simoïs menteur qui par vos pleurs grandit,

A fécondé soudain ma mémoire fertile,
Comme je traversais le nouveau Carrousel.
Le vieux Paris n'est plus (la forme d'une ville
Change plus vite, hélas! que le coeur d'un mortel);

Je ne vois qu'en esprit tout ce camp de baraques,
Ces tas de chapiteaux ébauchés et de fûts,
Les herbes, les gros blocs verdis par l'eau des flaques,
Et, brillant aux carreaux, le bric-à-brac confus.

Là s'étalait jadis une ménagerie;
Là je vis, un matin, à l'heure où sous les cieux
Froids et clairs le Travail s'éveille, où la voirie
Pousse un sombre ouragan dans l'air silencieux,

Un cygne qui s'était évadé de sa cage,
Et, de ses pieds palmés frottant le pavé sec,
Sur le sol raboteux traînait son blanc plumage.
Près d'un ruisseau sans eau la bête ouvrant le bec

Baignait nerveusement ses ailes dans la poudre,
Et disait, le coeur plein de son beau lac natal:
«Eau, quand donc pleuvras-tu? quand tonneras-tu, foudre?»
Je vois ce malheureux, mythe étrange et fatal,

Vers le ciel quelquefois, comme l'homme d'Ovide,
Vers le ciel ironique et cruellement bleu,
Sur son cou convulsif tendant sa tête avide
Comme s'il adressait des reproches à Dieu!


II

Paris change! mais rien dans ma mélancolie
N'a bougé! palais neufs, échafaudages, blocs,
Vieux faubourgs, tout pour moi devient allégorie
Et mes chers souvenirs sont plus lourds que des rocs.

Aussi devant ce Louvre une image m'opprime:
Je pense à mon grand cygne, avec ses gestes fous,
Comme les exilés, ridicule et sublime

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Cafe Prague.

Cream coloured coffee
And hot buttered toast
August sunshine
A packet of cigarettes
Talks on love and life
Friends and strangers all together

Days of summer
Seated on outside chairs
Tears and laughter
Mixed in the air
Of the perfect day just us and them

Cafe pavements
The world at view
Paris, Rome and cafe Prague
Used coffee cups
And ashtrays too
Paris, Rome and cafe Prague

Trendy young girls
And the wannabe author
Auster, Adams and Mr. Salinger
Days of dreaming
The perfect film
In view for all to see

Hello, hello
So good to see you
Was it twelve?
Or maybe it was two
I’ll sit and wait
And think of you

Cafe pavements
For me and you
Pairs, Rome and cafe Prague
Dirty spoons and knives
And glasses too
Paris, Rome and cafe Prague
Teacups and Earl grey
And ice cream sundaes
Black and white life
In full technicolour
Light my cigarette
And I’ll listen all day

Sunshine days
Storm clouds - away
The table over there

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An Appeal To Paris

BEAUTIFUL Paris! morning star of nations!
The Lucifer of cities, lifting high
The beacon blaze of young democracy!
Medina and Gomorrha both in one
Medina of a high and holy creed
To be developed in a coming time!
Gomorrha, rampant with all vice and guilt
Luxurious, godless, grovelling, soaring Paris,
Laden with intellect, and yet not wise
Metropolis of satire and lampoon,
Of wit, of elegance, of mirth, of song,
And fearful tragedies done day by day,
Which put our hair on end in the open streets
The busy hive of awful memories,
The potent arbiter of popular will,
The great electric centre whence the shocks
Of pulsing freedom vibrate through tbe world-
Beautiful Paris! sacred to our hearts,
With all thy folly, all thy wickedness-
If but for Bailly, Vergniaud, Gensonne,
And noblest Roland, she of Roman soul,
And the great patriots and friends of man
Who went to death for holy liberty-
Lift up thy voice, O Paris! once again,
And speak the thought that labours in thy breast;
Shake off thy gauds and tinsels-be thyself;
Cease thy lewd jests, and heartless revelries,
Thy adoration of all worthless things,
Thy scorn, thy sarcasm, and thy unbelief;
And in the conflict and the march of men
Do justice to thy nature, and complete
The glorious work, so gloriously begun
By the great souls of pregnant eighty-nine.
Come forth, oh, Paris! freed from vice and stain,
Like a young warrior dallying too long
With loving women, wasting precious hours
In base delights and enervating sloth;
Who, when he shakes them off, puts back his hair
From his broad brow, and places on his head
The plumed helmet-throws his velvets off.
And swathes his vigorous limbs in glancing steel.
To lead true hearts to struggle for mankind.
Or if no more, Soldier of Liberty!
Thou 'lt lead the nations-stand upon the hill,
And, like a prophet, preach a holy creed
Of freedom, progress, peace, and happiness;
And all the world shall listen to thy voice,
And Tyranny, hyaena big with young,
Dreading the sound, shall farrow in affright.
And drop, still-born, her sanguinary cubs,

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The Vision Of Piers Plowman - Part 04

' Cesseth!' seide the Kyng, ' I suffre yow no lenger.
Ye shul saughtne, forsothe, and serve me bothe.
Kis hire,' quod the Kyng, 'Conscience, I hote!'
' Nay, by Crist!' quod Conscience, ' congeye me rather!
But Reson rede me therto, rather wol I deye.'
'And I comaunde thee,' quod the Kyng to Conseience thanne,
'Rape thee to ryde, and Reson that thow fecche.
Comaunde hym that he come my counseil to here,
For he shal rule my reaume and rede me the beste
Mede and of mo othere, what man shal hire wedde,

And acounte with thee, Conscience, so me Crist helpe,
How thow lernest the peple, the lered and the lewed!'
'I am fayn of that foreward,' seide the freke thanne,
And ryt right to Reson and rouneth in his ere,
And seide hym as the Kyng seide, and sithen took his leve.
'I shal arraye me to ryde,' quod Reson,-reste thee a while,'
And called Caton his knave, curteis of speche,
And also Tomme Trewe-tonge-tel-me-no-tales
Ne lesynge-to-laughen-of-for-I-loved-hem-nevere.
' Set my sadel upon Suffre-til-I-se-my-tyme,
And lat warroke hym wel with witty-wordes gerthes.
Hange on hym the hevy brydel to holde his heed lowe,
For he wol make ''wehee'' twies er he be there.'
Thanne Conscience on his capul caireth forth faste,
And Reson with hym ryt, rownynge togideres
Whiche maistries Mede maketh on this erthe.
Oon Waryn Wisdom and Witty his fere
Folwed hem faste, for thei hadde to doone
In th'Eseheker and in the Chauncerye, to ben descharged of thynges,
And riden faste for Reson sholde rede hem the beste
For to save hem for silver from shame and from harmes.
A[c] Conscience knew hem wel, thei loved coveitise,
And bad Reson ryde faste and recche of hir neither
'Ther are wiles in hire wordes, and with Mede thei dweneth -
Ther as wrathe and wranglynge is, ther wynne thei silver;
Ac there is love and leautee, thei wol noght come there
Contricio et infelicitas in viis eorum &c.
Thei ne gyveth noght of God one goose wynge
Non est timor Dei ante oculos eorum &c.
For thei wolde do moore for a dozeyne chiknes
Than for the love of Oure Lorde or alle hise leeve seintes!

Forthi, Reson, lat hem ride, tho riche by hemselve -
For Conscience knoweth hem noght, ne Crist, as I trowe.'
And thanne Reson rood faste the righte heighe gate,
As Conscience hym kenned, til thei come to the Kynge.
Curteisly the Kyng thanne com ayeins Reson,
And bitwene hymsel and his sone sette hym on benche,
And wordeden wel wisely a gret while togideres.

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Pablo Neruda

I like you calm, as if you were absent

I like you calm, as if you were absent,
and you hear me far-off, and my voice does not touch you.
It seems that your eyelids have taken to flying:
it seems that a kiss has sealed up your mouth.
Since all these things are filled with my spirit,
you come from things, filled with my spirit.
You appear as my soul, as the butterfly’s dreaming,
and you appear as Sadness’s word.
I like you calm, as if you were distant,
you are a moaning, a butterfly’s cooing.
You hear me far-off, my voice does not reach you.
Let me be calmed, then, calmed by your silence.
Let me commune, then, commune with your silence,
clear as a light, and pure as a ring.
You are like night, calmed, constellated.
Your silence is star-like, as distant, as true.
I like you calm, as if you were absent:
distant and saddened, as if you were dead.
One word at that moment, a smile, is sufficient.
And I thrill, then, I thrill: that it cannot be so.

XV From:’ Veinte poemas de amor’
I like you calm, as if you were absent,
and you hear me far-off, and my voice does not touch you.
It seems that your eyelids have taken to flying:
it seems that a kiss has sealed up your mouth.
Since all these things are filled with my spirit,
you come from things, filled with my spirit.
You appear as my soul, as the butterfly’s dreaming,
and you appear as Sadness’s word.
I like you calm, as if you were distant,
you are a moaning, a butterfly’s cooing.
You hear me far-off, my voice does not reach you.
Let me be calmed, then, calmed by your silence.
Let me commune, then, commune with your silence,
clear as a light, and pure as a ring.
You are like night, calmed, constellated.
Your silence is star-like, as distant, as true.
I like you calm, as if you were absent:
distant and saddened, as if you were dead.
One word at that moment, a smile, is sufficient.
And I thrill, then, I thrill: that it cannot be so.

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