Being but men...

Thrust out our heads above the branches
To wonder at the unfailing stars...

Yannis Stavrou, Black Pine Trees, oil on canvas

"Poetry is what in a poem makes you laugh, cry, prickle, be silent, makes your toenails twinkle, makes you want to do this or that or nothing, makes you know that you are alone and not alone in the unknown world, that your bliss and suffering is forever shared and forever all your own. All that matters about poetry is the enjoyment of it however tragic it may be all that matters is the eternal movement behind it – the great undercurrent of human grief, folly, pretension, exaltation and ignorance – however unlofty the intention of the poem…" Dylan Thomas

Dylan M. Thomas
Being But Men

Being but men, we walked into the trees
Afraid, letting our syllables be soft
For fear of waking the rooks,
For fear of coming
Noiselessly into a world of wings and cries.

If we were children we might climb,
Catch the rooks sleeping, and break no twig,
And, after the soft ascent,
Thrust out our heads above the branches
To wonder at the unfailing stars.

Out of confusion, as the way is,
And the wonder, that man knows,
Out of the chaos would come bliss.

That, then, is loveliness, we said,
Children in wonder watching the stars,
Is the aim and the end.

Being but men, we walked into the trees.

We are the vain predetermined river...

We are the vain predetermined river,
in his travel to his sea.
The shadows have surrounded him.
Everything said goodbye to us, everything goes away...

Yannis Stavrou, At the Port, oil on paper

Jorge Luis Borges

We are the time. We are the famous

We are the time. We are the famous
metaphor from Heraclitus the Obscure.

We are the water, not the hard diamond,
the one that is lost, not the one that stands still.

We are the river and we are that greek
that looks himself into the river. His reflection
changes into the waters of the changing mirror,
into the crystal that changes like the fire.

We are the vain predetermined river,
in his travel to his sea.

The shadows have surrounded him.
Everything said goodbye to us, everything goes away.

Memory does not stamp his own coin.

However, there is something that stays
however, there is something that bemoans.

Our judgments judge us...

That which has been believed by everyone, always and everywhere, has every chance of being false...

Yannis Stavrou, Coffee and Books, oil on canvas (detail)

Paul Valéry

Aphorisms

Two dangers constantly threaten the world: order and disorder.

A great man is one who leaves others at a loss after he is gone.

A poem is never finished, only abandoned.

War: a massacre of people who don’t know each other for the profit of people who know each other but don’t massacre each other.

Politeness is organized indifference.

A man is a poet if difficulties inherent in his art provide him with ideas; he is not a poet if they deprive him of ideas.

A businessman is a hybrid of a dancer and a calculator.

Paul Valéry 1871-1945

God created man and, finding him not sufficiently alone, gave him a companion to make him feel his solitude more keenly.

Serious-minded people have few ideas. People with ideas are never serious.

Power without abuse loses its charm.

A man who is ‘of sound mind’ is one who keeps the inner madman under lock and key.

An artist never really finishes his work, he merely abandons it.

The folly of mistaking a paradox for a discovery, a metaphor for a proof, a torrent of verbiage for a spring of capital truths, and oneself for an oracle, is inborn in us.

A man’s true secrets are more secret to himself than they are to others.

Politics is the art of preventing people from busying themselves with what is their own business.

God made everything out of nothing, but the nothingness shows through.

The best way to make your dreams come true is to wake up.

Man’s great misfortune is that he has no organ, no kind of eyelid or brake, to mask or block a thought, or all thought, when he wants to.

Our judgments judge us, and nothing reveals us, exposes our weaknesses, more ingeniously than the attitude of pronouncing upon our fellows.

Science means simply the aggregate of all the recipes that are always successful. All the rest is literature.

The history of thought may be summed up in these words: it is absurd by what it seeks and great by what it finds.

To write regular verses destroys an infinite number of fine possibilities, but at the same time it suggests a multitude of distant and totally unexpected thoughts.

Love is being stupid together.

A man is infinitely more complicated than his thoughts.

Books have the same enemies as people: fire, humidity, animals, weather, and their own content.

The future, like everything else, is not what it used to be.

We are enriched by our reciprocate differences.

The universe is built on a plan the profound symmetry of which is somehow present in the inner structure of our intellect.

Long years must pass before the truths we have made for ourselves become our very flesh.

At times I think and at times I am.

History is the science of things which are not repeated.

In poetry everything which must be said is almost impossible to say well.

The trouble with our times is that the future is not what it used to be.

Go, my songs, seek your praise from the young and from the intolerant...

Ezra Pound
Some Poems

Ité

Go, my songs, seek your praise from the young
and from the intolerant,
Move among the lovers of perfection alone.
Seek ever to stand in the hard Sophoclean light
And take you wounds from it gladly.

The Coming Of War: Actaeon

An image of Lethe,
and the fields
Full of faint light
but golden,
Gray cliffs,
and beneath them

A sea
Harsher than granite,
unstill, never ceasing;
High forms
with the movement of gods,
Perilous aspect;
And one said:
'This is Actaeon.'
Actaeon of golden greaves!
Over fair meadows,
Over the cool face of that field,
Unstill, ever moving
Hosts of an ancient people,
The silent cortège.

PHASELLUS ILLE 

This papier-mâché, which you see, my friends,
Saith 'twas the worthiest of editors.
Its mind was made up in 'the seventies',
Nor hath it ever since changed that concoction.
It works to represent that school of thought
Which brought the hair-cloth chair to such perfection,
Nor will the horrid threats of Bernard Shaw
Shake up the stagnant pool of its convictions;
Nay, should the deathless voice of all the world
Speak once again for its sole stimulation,
Twould not move it one jot from left to right.

Come Beauty barefoot from the Cyclades,
She'd find a model for St. Anthony
In this thing's sure decorum and behaviour. 

SURGIT FAMA

There is a truce among the gods,
Kore is seen in the North
Skirting the blue-gray sea
In gilded and russet mantle.
The corn has again it's mother and she, Leuconoe,
That failed never women,
Fails not the earth now.

The tricksome Hermes is here;
He moves behind me
Eager to catch my words,
Eager to spread them with rumour;
To set upon them his change
Crafty and subtle;
To alter them to his purpose;
But do thou speak true, even to the letter:

‘Once more in Delos, once more is the altar a-quiver.
Once more is the chant heard.
Once more are the never abandoned gardens
Full of gossip and old tales.’ 

CODA

O My songs,
Why do you look so eagerly and so curiously into
people's faces,
Will you find your lost dead among them?

with usura hath no man a painted paradise...

Piero de la Franscesca (1422-1492)

They have brought whores for Eleusis

Corpses are set to banquet

at behest of usura...

Ezra Pound

Canto XLV -With Usura

With usura hath no man a house of good stone

each block cut smooth and well fitting

that design might cover their face,

with usura

hath no man a painted paradise on his church wall

harpes et luz

or where virgin receiveth message

and halo projects from incision,

with usura

seeth no man Gonzaga his heirs and his concubines

no picture is made to endure nor to live with

but it is made to sell and sell quickly

with usura, sin against nature,

is thy bread ever more of stale rags

is thy bread dry as paper,

with no mountain wheat, no strong flour

with usura the line grows thick

with usura is no clear demarcation

and no man can find site for his dwelling.

Stonecutter is kept from his tone

weaver is kept from his loom

WITH USURA

wool comes not to market

sheep bringeth no gain with usura

Usura is a murrain, usura

blunteth the needle in the maid’s hand

and stoppeth the spinner’s cunning. Pietro Lombardo

came not by usura

Duccio came not by usura

nor Pier della Francesca; Zuan Bellin’ not by usura

nor was ‘La Calunnia’ painted.

Came not by usura Angelico; came not Ambrogio Praedis,

Came no church of cut stone signed: Adamo me fecit.

Not by usura St. Trophime

Not by usura Saint Hilaire,

Usura rusteth the chisel

It rusteth the craft and the craftsman

It gnaweth the thread in the loom

None learneth to weave gold in her pattern;

Azure hath a canker by usura; cramoisi is unbroidered

Emerald findeth no Memling

Usura slayeth the child in the womb

It stayeth the young man’s courting

It hath brought palsey to bed, lyeth

between the young bride and her bridegroom

CONTRA NATURAM

They have brought whores for Eleusis

Corpses are set to banquet

at behest of usura.

Comments & Greek artists: In the long ago land that glided the dark door wide...

Poets & Greek artists, modern Greek painters


Yannis Stavrou, Winter's Evening, Thessaloniki V, oil on canvas

Dylan Thomas

A Winter's Tale

It is a winter's tale
That the snow blind twilight ferries over the lakes
And floating fields from the farm in the cup of the vales,
Gliding windless through the hand folded flakes,
The pale breath of cattle at the stealthy sail,

And the stars falling cold,
And the smell of hay in the snow, and the far owl
Warning among the folds, and the frozen hold
Flocked with the sheep white smoke of the farm house cowl
In the river wended vales where the tale was told.

Once when the world turned old
On a star of faith pure as the drifting bread,
As the food and flames of the snow, a man unrolled
The scrolls of fire that burned in his heart and head,
Torn and alone in a farm house in a fold

Of fields. And burning then
In his firelit island ringed by the winged snow
And the dung hills white as wool and the hen
Roosts sleeping chill till the flame of the cock crow
Combs through the mantled yards and the morning men

Stumble out with their spades,
The cattle stirring, the mousing cat stepping shy,
The puffed birds hopping and hunting, the milkmaids
Gentle in their clogs over the fallen sky,
And all the woken farm at its white trades,

He knelt, he wept, he prayed,
By the spit and the black pot in the log bright light
And the cup and the cut bread in the dancing shade,
In the muffled house, in the quick of night,
At the point of love, forsaken and afraid.

He knelt on the cold stones,
He wept form the crest of grief, he prayed to the veiled sky
May his hunger go howling on bare white bones
Past the statues of the stables and the sky roofed sties
And the duck pond glass and the blinding byres alone

Into the home of prayers
And fires where he should prowl down the cloud
Of his snow blind love and rush in the white lairs.
His naked need struck him howling and bowed
Though no sound flowed down the hand folded air

But only the wind strung
Hunger of birds in the fields of the bread of water, tossed
In high corn and the harvest melting on their tongues.
And his nameless need bound him burning and lost
When cold as snow he should run the wended vales among

The rivers mouthed in night,
And drown in the drifts of his need, and lie curled caught
In the always desiring centre of the white
Inhuman cradle and the bride bed forever sought
By the believer lost and the hurled outcast of light.

Deliver him, he cried,
By losing him all in love, and cast his need
Alone and naked in the engulfing bride,
Never to flourish in the fields of the white seed
Or flower under the time dying flesh astride.

Listen. The minstrels sing
In the departed villages. The nightingale,
Dust in the buried wood, flies on the grains of her wings
And spells on the winds of the dead his winter's tale.
The voice of the dust of water from the withered spring

Is telling. The wizened
Stream with bells and baying water bounds. The dew rings
On the gristed leaves and the long gone glistening
Parish of snow. The carved mouths in the rock are wind swept strings.
Time sings through the intricately dead snow drop. Listen.

It was a hand or sound
In the long ago land that glided the dark door wide
And there outside on the bread of the ground
A she bird rose and rayed like a burning bride.
A she bird dawned, and her breast with snow and scarlet downed.

Look. And the dancers move
On the departed, snow bushed green, wanton in moon light
As a dust of pigeons. Exulting, the grave hooved
Horses, centaur dead, turn and tread the drenched white
Paddocks in the farms of birds. The dead oak walks for love.

The carved limbs in the rock
Leap, as to trumpets. Calligraphy of the old
Leaves is dancing. Lines of age on the stones weave in a flock.
And the harp shaped voice of the water's dust plucks in a fold
Of fields. For love, the long ago she bird rises. Look.

And the wild wings were raised
Above her folded head, and the soft feathered voice
Was flying through the house as though the she bird praised
And all the elements of the slow fall rejoiced
That a man knelt alone in the cup of the vales,

In the mantle and calm,
By the spit and the black pot in the log bright light.
And the sky of birds in the plumed voice charmed
Him up and he ran like a wind after the kindling flight
Past the blind barns and byres of the windless farm.

In the poles of the year
When black birds died like priests in the cloaked hedge row
And over the cloth of counties the far hills rode near,
Under the one leaved trees ran a scarecrow of snow
And fast through the drifts of the thickets antlered like deer,

Rags and prayers down the knee-
Deep hillocks and loud on the numbed lakes,
All night lost and long wading in the wake of the she-
Bird through the times and lands and tribes of the slow flakes.
Listen and look where she sails the goose plucked sea,

The sky, the bird, the bride,
The cloud, the need, the planted stars, the joy beyond
The fields of seed and the time dying flesh astride,
The heavens, the heaven, the grave, the burning font.
In the far ago land the door of his death glided wide,

And the bird descended.
On a bread white hill over the cupped farm
And the lakes and floating fields and the river wended
Vales where he prayed to come to the last harm
And the home of prayers and fires, the tale ended.

The dancing perishes
On the white, no longer growing green, and, minstrel dead,
The singing breaks in the snow shoed villages of wishes
That once cut the figures of birds on the deep bread
And over the glazed lakes skated the shapes of fishes

Flying. The rite is shorn
Of nightingale and centaur dead horse. The springs wither
Back. Lines of age sleep on the stones till trumpeting dawn.
Exultation lies down. Time buries the spring weather
That belled and bounded with the fossil and the dew reborn.

For the bird lay bedded
In a choir of wings, as though she slept or died,
And the wings glided wide and he was hymned and wedded,
And through the thighs of the engulfing bride,
The woman breasted and the heaven headed

Bird, he was brought low,
Burning in the bride bed of love, in the whirl-
Pool at the wanting centre, in the folds
Of paradise, in the spun bud of the world.
And she rose with him flowering in her melting snow.

Comments & Greek artists, modern Greek artists: without artists, men would soon weary of nature's monotony...

Poets & Greek artists, Greek painters, modern Greek painters


Yannis Stavrou, Red Ships, oil on canvas

Without poets, without artists, men would soon weary of nature's monotony.

Artists are, above all, men who want to become inhuman.

I love men, not for what unites them, but for what divides them, and I want to know most of all what gnaws at their hearts.

It's raining my soul, it's raining, but it's raining dead eyes.

Joy always came after pain.

One can't carry one's father's corpse about everywhere.

When man wanted to make a machine that would walk he created the wheel, which does not resemble a leg.


Guillaume Apollinaire (1880-1918)

Guillaume Apollinaire

The Farewell
(Alcools: L’Adieu)

I’ve gathered this sprig of heather

Autumn is dead you will remember

On earth we’ll see no more of each other

Fragrance of time sprig of heather

Remember I wait for you forever

L' Adieu

J'ai cueilli ce brin de bruyère

L'automne est morte souviens-t'en

Nous ne nous verrons plus sur terre

Odeur du temps brin de bruyère

Et souviens-toi que je t'attends

Twilight
(Alcools: Crépuscule)

Brushed by the shadows of the dead

On the grass where day expires

Columbine strips bare admires

her body in the pond instead

A charlatan of twilight formed

Boasts of the tricks to be performed

The sky without a stain unmarred

Is studded with the milk-white stars

From the boards pale Harlequin

First salutes the spectators

Sorcerers from Bohemia

Fairies sundry enchanters

Having unhooked a star

He proffers it with outstretched hand

While with his feet a hanging man

Sounds the cymbals bar by bar

The blind man rocks a pretty child

The doe with all her fauns slips by

The dwarf observes with saddened pose

How Harlequin magically grows

Comments & Greek paintings, Greek artists: Cutting the lemon the knife leaves a little cathedral...

Poets & Greek painters, Greek artists, Greek painting


Yannis Stavrou, Still Life, oil on canvas

so the freshness lives on
in a lemon,
in the sweet-smelling house of the rind,
the proportions, arcane and acerb...

Pablo Neruda
A Lemon

Out of lemon flowers
loosed
on the moonlight, love's
lashed and insatiable
essences,
sodden with fragrance,
the lemon tree's yellow
emerges,
the lemons
move down
from the tree's planetarium

Delicate merchandise!
The harbors are big with it-
bazaars
for the light and the
barbarous gold.
We open
the halves
of a miracle,
and a clotting of acids
brims
into the starry
divisions:
creation's
original juices,
irreducible, changeless,
alive:
so the freshness lives on
in a lemon,
in the sweet-smelling house of the rind,
the proportions, arcane and acerb.

Cutting the lemon
the knife
leaves a little cathedral:
alcoves unguessed by the eye
that open acidulous glass
to the light; topazes
riding the droplets,
altars,
aromatic facades.

So, while the hand
holds the cut of the lemon,
half a world
on a trencher,
the gold of the universe
wells
to your touch:
a cup yellow
with miracles,
a breast and a nipple
perfuming the earth;
a flashing made fruitage,
the diminutive fire of a planet.

Comments & Greek artists, Greek painters: But, oh my heart, listen to the sailors’ chant!

Poets & Greek artists, modern Greek artists, Greek painters


Yannis Stavrou, The Spirit of the Sailor, oil on canvas

A Boredom, made desolate by cruel hope

Still believes in the last goodbye of handkerchiefs!

And perhaps the masts, inviting lightning,

Are those the gale bends over shipwrecks,

Lost, without masts, without masts, no fertile islands...

But, oh my heart, listen to the sailors’ chant!

Mallarmé Stéphane

Sea Breeze


The flesh is sad, alas! - and I' ve read all the books.

Let’s go! Far off. Let’s go! I sense

That the birds, intoxicated, fly

Deep into unknown spume and sky!

Nothing – not even old gardens mirrored by eyes –

Can restrain this heart that drenches itself in the sea,

O nights, or the abandoned light of my lamp,

On the void of paper, that whiteness defends,

No, not even the young woman feeding her child.

I shall go! Steamer, straining at your ropes

Lift your anchor towards an exotic rawness!

A Boredom, made desolate by cruel hope

Still believes in the last goodbye of handkerchiefs!

And perhaps the masts, inviting lightning,

Are those the gale bends over shipwrecks,

Lost, without masts, without masts, no fertile islands...

But, oh my heart, listen to the sailors’ chant!

Mallarmé Stéphane (1842-1898)
(portait by Édouard Manet)

Brise marine

La chair est triste, hélas ! et j’ai lu tous les livres.

Fuir ! là-bas fuir ! Je sens que des oiseaux sont ivres

D’être parmi l’écume inconnue et les cieux !

Rien, ni les vieux jardins reflétés par les yeux

Ne retiendra ce cœur qui dans la mer se trempe

Ô nuits ! ni la clarté déserte de ma lampe

Sur le vide papier que la blancheur défend

Et ni la jeune femme allaitant son enfant.

Je partirai ! Steamer balançant ta mâture,

Lève l’ancre pour une exotique nature !

Un Ennui, désolé par les cruels espoirs,

Croit encore à l’adieu suprême des mouchoirs !

Et, peut-être, les mâts, invitant les orages

Sont-ils de ceux qu’un vent penche sur les naufrages

Perdus, sans mâts, sans mâts, ni fertiles îlots...

Mais, ô mon cœur, entends le chant des matelots !

To the Sole Concern

To the sole task of voyaging

Beyond an India dark and splendid

– Goes time’s messenger, this greeting,

Cape that your stern has doubled

As on some low yard plunging

Along with the vessel riding

Skimmed in constant frolicking

A bird bringing fresh tidings

That without the helm flickering

Shrieked in pure monotones

An utterly useless bearing

Night, despair, and precious stones

Reflected by its singing so

To the smile of pale Vasco.

Comments & Greek artists, modern Greek artists: An Image from a Past Life...

Poets & Greek artists, modern Greek artists, Greek painters


Yannis Stavrou, Thessaloniki V, oil on canvas

The elaborate starlight throws a reflection
On the dark stream,
Till all the eddies gleam...

William Butler Yeats
An Image from a Past Life

He. Never until this night have I been stirred.
The elaborate starlight throws a reflection
On the dark stream,
Till all the eddies gleam;
And thereupon there comes that scream
From terrified, invisible beast or bird:
Image of poignant recollection.

She. An image of my heart that is smitten through
Out of all likelihood, or reason,
And when at last,
Youth's bitterness being past,
I had thought that all my days were cast
Amid most lovely places; smitten as though
It had not learned its lesson.

He. Why have you laid your hands upon my eyes?
What can have suddenly alarmed you
Whereon 'twere best
My eyes should never rest?
What is there but the slowly fading west,
The river imaging the flashing skies,
All that to this moment charmed you?

She. A Sweetheart from another life floats there
As though she had been forced to linger
From vague distress
Or arrogant loveliness,
Merely to loosen out a tress
Among the starry eddies of her hair
Upon the paleness of a finger.

He. But why should you grow suddenly afraid
And start -- I at your shoulder --
Imagining
That any night could bring
An image up, or anything
Even to eyes that beauty had driven mad,
But images to make me fonder?

She. Now She has thrown her arms above her head;
Whether she threw them up to flout me,
Or but to find,
Now that no fingers bind,
That her hair streams upon the wind,
I do not know, that know I am afraid
Of the hovering thing night brought me.

Comments & Greek artists, painters: But where are the snows of yesteryear?

Poets & Greek artists, Greek painting, modern Greek painters


Yannis Stavrou, On Waves, oil on canvas

But where are the snows of yesteryear?

(The question "Mais où sont les neiges d'antan?", taken from the Ballade des dames du temps jadis and translated by Dante Gabriel Rossetti as "Where are the snows of yesteryear?", is one of the most famous lines of translated secular poetry in the English-speaking world.)

A contemporary poet from The Middle Ages...

François Villon

Ballad Of The Ladies Of Yore

Tell me where, in what country,
Is Flora the beautiful Roman,
Archipiada or Thais
Who was first cousin to her once,
Echo who speaks when there's a sound
On a pond or a river
Whose beauty was more than human?
But where are the snows of yesteryear?
Where is the leamed Heloise
For whom they castrated Pierre Abelard
And made him a monk at Saint-Denis,
For his love he took this pain,
Likewise where is the queen
Who commanded that Buridan
Be thrown in a sack into the Seine?
But where are the snows of yesteryear?

The queen white as a lily
Who sang with a siren's voice,
Big-footed Bertha, Beatrice, Alice,
Haremburgis who held Maine
And Jeanne the good maid of Lorraine
Whom the English bumt at Rouen, where,
Where are they, sovereign Virgin?
But where are the snows of yesteryear?

Prince, don't ask me in a week
or in a year what place they are;
I can only give you this refrain:
Where are the snows of yesteryear?


François Villon (1431-1463)

Ballade Des Dames De Temps Jadis

Dictes moy ou, n'en quel pays,
Est Flora la belle Rommaine,
Archipiades ne Thaïs,
Qui fut sa cousine germaine,
Echo parlant quant bruyt on maine
Dessus riviere ou sus estan,
Qui beaulté ot trop plus q'humaine.
Mais ou sont les neiges d'antan?

Ou est la tres sage Helloïs,
Pour qui chastré fut et puis moyne
Pierre Esbaillart a Saint Denis?
Pour son amour ot ceste essoyne.
Semblablement, ou est la royne
Qui commanda que Buridan
Fust geté en ung sac en Saine?
Mais ou sont les neiges d'antan?

La royne Blanche comme lis
Qui chantoit a voix de seraine,
Berte au grand pié, Beatris, Alis,
Haremburgis qui tint le Maine,
Et Jehanne la bonne Lorraine
Qu'Englois brulerent a Rouan;
Ou sont ilz, ou, Vierge souvraine?
Mais ou sont les neiges d'antan?

Prince, n'enquerez de sepmaine
Ou elles sont, ne de cest an,
Qu'a ce reffrain ne vous remaine:
Mais ou sont les neiges d'antan?

Comments & Greek artists: I want to sleep awhile, awhile, a minute, a century...

Poets & Greek artists, modern Greek painters


Yannis Stavrou, Attica Landscape, oil on canvas

Federico Garcia Lorca
Gacela of the Dark Death

I want to sleep the dream of the apples,
to withdraw from the tumult of cemetries.
I want to sleep the dream of that child
who wanted to cut his heart on the high seas.

I don't want to hear again that the dead do not lose their blood,
that the putrid mouth goes on asking for water.
I don't want to learn of the tortures of the grass,
nor of the moon with a serpent's mouth
that labors before dawn.

I want to sleep awhile,
awhile, a minute, a century;
but all must know that I have not died;
that there is a stable of gold in my lips;
that I am the small friend of the West wing;
that I am the intense shadows of my tears.

Cover me at dawn with a veil,
because dawn will throw fistfuls of ants at me,
and wet with hard water my shoes
so that the pincers of the scorpion slide.

For I want to sleep the dream of the apples,
to learn a lament that will cleanse me to earth;
for I want to live with that dark child
who wanted to cut his heart on the high seas.

He Wishes For the Cloths of Heaven *

HAD I the heavens’ embroidered cloths,
Enwrought with golden and silver light,
The blue and the dim and the dark cloths
Of night and light and the half light,
I would spread the cloths under your feet:
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams.
______________________________________

* William Butler Yeats (1865–1939), He Wishes For the Cloths of Heaven
* On the left, Yannis Stavrou, Portrait of a Young Woman, oil on canvas (detail)