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- Biographical information
- Ballad Of The Moon
- Before The Dawn
- City That Does Not Sleep
- Ditty Of First Desire
- Fare Well
- Gacela Of The Dark Death
- Gacela Of The Dead Child
- Gacela Of Unforseen Love
- Lament For Ignacio Sanchez Mejias
- Little Viennese Waltz
- Saturday Paseo: Adelina
- Serenata
- Sonnet Of The Sweet Complaint
- The Faithless Wife
- The Gipsy And The Wind
- The Guitar
- The Little Mute Boy
- The Weeping
- Train Ride
- Tree, Tree, Dry And Green
- Weeping
Biographical information- Name: Federico García Lorca
Place and date of birth: Fuente Vaqueros, Granada (Spain); June 5, 1898
Place and date of death: Víznar, Granada (Spain); August 18, 1936 (aged 38)- Ballad Of The Moon
- The moon came into the forge
in her bustle of flowering nard.
The little boy stares at her, stares.
The boy is staring hard.
In the shaken air
the moon moves her amrs,
and shows lubricious and pure,
her breasts of hard tin.
"Moon, moon, moon, run!
If the gypsies come,
they will use your heart
to make white necklaces and rings."
"Let me dance, my little one.
When the gypsies come,
they'll find you on the anvil
with your lively eyes closed tight.
"Moon, moon, moon, run!
I can feelheir horses come."
"Let me be, my little one,
don't step on me, all starched and white!"
Closer comes the the horseman,
drumming on the plain.
The boy is in the forge;
his eyes are closed.
Through the olive grove
come the gypsies, dream and bronze,
their heads held high,
their hooded eyes.
Oh, how the night owl calls,
calling, calling from its tree!
The moon is climbing through the sky
with the child by the hand.
They are crying in the forge,
all the gypsies, shouting, crying.
The air is veiwing all, views all.
The air is at the viewing.
Before The Dawn- But like love
the archers
are blind
Upon the green night,
the piercing saetas
leave traces of warm
lily.
The keel of the moon
breaks through purple clouds
and their quivers
fill with dew.
Ay, but like love
the archers
are blind!
City That Does Not Sleep- In the sky there is nobody asleep. Nobody, nobody.
Nobody is asleep.
The creatures of the moon sniff and prowl about their cabins.
The living iguanas will come and bite the men who do not dream,
And the man who rushes out with his spirit broken will meet on the street corner
The unbelievable alligator quiet beneath the tender protest of the stars.
Nobody is asleep on earth. Nobody, nobody.
Nobody is asleep.
In a graveyard far off there is a corpse
Who has moaned for three years
Because of a dry countryside on his knee;
And that boy they buried this morning cried so much
It was necessary to call out the dogs to keep him quiet.
Life is not a dream. Careful! Careful! Careful!
We fall down the stairs in order to eat the moist earth
Or we climb to the knife edge of the snow with the voices of the dead dahlias.
But forgetfulness does not exist, dreams do not exist;
Flesh exists. Kisses tie our mouths
In a thicket of new veins,
And whoever his pain pains will feel that pain forever
And whoever is afraid of death will carry it on his shoulders.
One day
The horses will live in the saloons
And the enraged ants
Will throw themselves on the yellow skies that take refuge in the eyes of cows.
Another day
We will watch the preserved butterflies rise from the dead
And still walking through a country of gray sponges and silent boats
We will watch our ring flash and roses spring from our tongue.
Careful! Be careful! Be careful!
The men who still have marks of the claw and the thunderstorm,
And that boy who cries because he has never heard of the invention of the bridge,
Or that dead man who possesses now only his head and a shoe,
We must carry them to the wall where the iguanas and the snakes are waiting,
Where the bear's teeth are waiting,
Where the mummified hand of the boy is waiting,
And the hair of the camel stands on end with a violent blue shudder.
Nobody is sleeping in the sky. Nobody, nobody.
Nobody is sleeping.
If someone does close his eyes,
A whip, boys, a whip!
Let there be a landscape of open eyes
And bitter wounds on fire.
No one is sleeping in this world. No one, no one.
I have said it before.
No one is sleeping.
But if someone grows too much moss on his temples during the night,
Open the stage trapdoors so he can see in the moonlight
The lying goblets, and the poison, and the skull of the theaters.
Ditty Of First Desire- In the green morning
I wanted to be a heart.
A heart.
And in the ripe evening
I wanted to be a nightingale.
A nightingale.
(Soul,
Turn orangecolored.
Soul,
Turn the color of love).
In the vivid morning
I wanted to be myself.
A heart.
And at the evening's end
I wanted to be my voice.
A nightingale.
Soul,
Turn orangecolored.
Soul,
Turn the color of love.
Fare Well- If I die,
leave the balcony open.
The little boy is eating oranges.
(From my balcony I can see him.)
The reaper is harvesting the wheat.
(From my balcony I can hear him.)
If I die,
leave the balcony open!
Fare Well- If I die,
leave the balcony open.
The little boy is eating oranges.
(From my balcony I can see him.)
The reaper is harvesting the wheat.
(From my balcony I can hear him.)
If I die,
leave the balcony open!
Gacela Of The Dark Death- I want to sleep the sleep of the apples,
I want to get far away from the busyness of the cemeteries.
I want to sleep the sleep of that child
Who longed to cut his heart open far out at sea.
I don't want them to tell me again how the corpse keeps all its blood,
How the decaying mouth goes on begging for water.
I'd rather not hear about the torture sessions the grass arranges for
Nor about how the moon does all its work before dawn
With its snakelike nose.
I want to sleep for half a second,
A second, a minute, a century,
But I want everyone to know that I am still alive,
That I have a golden manger inside my lips,
That I am the little friend of the west wind,
That I am the elephantine shadow of my own tears.
When it's dawn just throw some sort of cloth over me
Because I know dawn will toss fistfuls of ants at me,
And pour a little hard water over my shoes
So that the scorpion claws of the dawn will slip off.
Because I want to sleep the sleep of the apples,
And learn a mournful song that will clean all earth away from me,
Because I want to live with that shadowy child
Who longed to cut his heart open far out at sea.
Gacela Of The Dead Child- Each afternoon in Granada,
each afternoon, a child dies.
Each afternoon the water sits down
and chats with its companions.
The dead wear mossy wings.
The cloudy wind and the clear wind
are two pheasants in flight through the towers,
and the day is a wounded boy.
Not a flicker of lark was left in the air
when I met you in the caverns of wine.
Not the crumb of a cloud was left in the ground
when you were drowned in the river.
A giant of water fell down over the hills,
and the valley was tumbling with lilies and dogs.
In my hands' violet shadow, your body,
dead on the bank, was an angel of coldness.
Gacela Of Unforseen Love- No one understood the perfume
of the dark magnolia of your womb.
Nobody knew that you tormented
a hummingbird of love between your teeth.
A thousand Persian little horses fell asleep
in the plaza with moon of your forehead,
while through four nights I embraced
your waist, enemy of the snow.
Between plaster and jasmins, your glance
was a pale branch of seeds.
I sought in my heart to give you
the ivory letters that say "siempre",
"siempre", "siempre" : garden of my agony,
your body elusive always,
that blood of your veins in my mouth,
your mouth already lightless for my death.
Lament For Ignacio Sanchez Mejias- 1. Cogida and death
At five in the afternoon.
It was exactly five in the afternoon.
A boy brought the white sheet
at five in the afternoon.
A frail of lime ready prepared
at five in the afternoon.
The rest was death, and death alone.
The wind carried away the cottonwool
at five in the afternoon.
And the oxide scattered crystal and nickel
at five in the afternoon.
Now the dove and the leopard wrestle
at five in the afternoon.
And a thigh with a desolated horn
at five in the afternoon.
The bass-string struck up
at five in the afternoon.
Arsenic bells and smoke
at five in the afternoon.
Groups of silence in the corners
at five in the afternoon.
And the bull alone with a high heart!
At five in the afternoon.
When the sweat of snow was coming
at five in the afternoon,
when the bull ring was covered with iodine
at five in the afternoon.
Death laid eggs in the wound
at five in the afternoon.
At five in the afternoon.
At five o'clock in the afternoon.
A coffin on wheels is his bed
at five in the afternoon.
Bones and flutes resound in his ears
at five in the afternoon.
Now the bull was bellowing through his forehead
at five in the afternoon.
The room was iridiscent with agony
at five in the afternoon.
In the distance the gangrene now comes
at five in the afternoon.
Horn of the lily through green groins
at five in the afternoon.
The wounds were burning like suns
at five in the afternoon.
At five in the afternoon.
Ah, that fatal five in the afternoon!
It was five by all the clocks!
It was five in the shade of the afternoon!
2. The Spilled Blood
I will not see it!
Tell the moon to come,
for I do not want to see the blood
of Ignacio on the sand.
I will not see it!
The moon wide open.
Horse of still clouds,
and the grey bull ring of dreams
with willows in the barreras.
I will not see it!
Let my memory kindle!
Warm the jasmines
of such minute whiteness!
I will not see it!
The cow of the ancient world
passed har sad tongue
over a snout of blood
spilled on the sand,
and the bulls of Guisando,
partly death and partly stone,
bellowed like two centuries
sated with threading the earth.
No.
I will not see it!
Ignacio goes up the tiers
with all his death on his shoulders.
He sought for the dawn
but the dawn was no more.
He seeks for his confident profile
and the dream bewilders him
He sought for his beautiful body
and encountered his opened blood
Do not ask me to see it!
I do not want to hear it spurt
each time with less strength:
that spurt that illuminates
the tiers of seats, and spills
over the cordury and the leather
of a thirsty multiude.
Who shouts that I should come near!
Do not ask me to see it!
His eyes did not close
when he saw the horns near,
but the terrible mothers
lifted their heads.
And across the ranches,
an air of secret voices rose,
shouting to celestial bulls,
herdsmen of pale mist.
There was no prince in Sevilla
who could compare to him,
nor sword like his sword
nor heart so true.
Like a river of lions
was his marvellous strength,
and like a marble toroso
his firm drawn moderation.
The air of Andalusian Rome
gilded his head
where his smile was a spikenard
of wit and intelligence.
What a great torero in the ring!
What a good peasant in the sierra!
How gentle with the sheaves!
How hard with the spurs!
How tender with the dew!
How dazzling the fiesta!
How tremendous with the final
banderillas of darkness!
But now he sleeps without end.
Now the moss and the grass
open with sure fingers
the flower of his skull.
And now his blood comes out singing;
singing along marshes and meadows,
sliden on frozen horns,
faltering soulles in the mist
stoumbling over a thousand hoofs
like a long, dark, sad tongue,
to form a pool of agony
close to the starry Guadalquivir.
Oh, white wall of Spain!
Oh, black bull of sorrow!
Oh, hard blood of Ignacio!
Oh, nightingale of his veins!
No.
I will not see it!
No chalice can contain it,
no swallows can drink it,
no frost of light can cool it,
nor song nor deluge og white lilies,
no glass can cover mit with silver.
No.
I will not see it!
3. The Laid Out Body
Stone is a forehead where dreames grieve
without curving waters and frozen cypresses.
Stone is a shoulder on which to bear Time
with trees formed of tears and ribbons and planets.
I have seen grey showers move towards the waves
raising their tender riddle arms,
to avoid being caught by lying stone
which loosens their limbs without soaking their blood.
For stone gathers seed and clouds,
skeleton larks and wolves of penumbra:
but yields not sounds nor crystals nor fire,
only bull rings and bull rings and more bull rings without walls.
Now, Ignacio the well born lies on the stone.
All is finished. What is happening! Contemplate his face:
death has covered him with pale sulphur
and has place on him the head of dark minotaur.
All is finished. The rain penetrates his mouth.
The air, as if mad, leaves his sunken chest,
and Love, soaked through with tears of snow,
warms itself on the peak of the herd.
What is they saying? A stenching silence settles down.
We are here with a body laid out which fades away,
with a pure shape which had nightingales
and we see it being filled with depthless holes.
Who creases the shroud? What he says is not true!
Nobody sings here, nobody weeps in the corner,
nobody pricks the spurs, nor terrifies the serpent.
Here I want nothing else but the round eyes
to see his body without a chance of rest.
Here I want to see those men of hard voice.
Those that break horses and dominate rivers;
those men of sonorous skeleton who sing
with a mouth full of sun and flint.
Here I want to see them. Before the stone.
Before this body with broken reins.
I want to know from them the way out
for this captain stripped down by death.
I want them to show me a lament like a river
wich will have sweet mists and deep shores,
to take the body of Ignacio where it looses itself
without hearing the double planting of the bulls.
Loses itself in the round bull ring of the moon
which feigns in its youth a sad quiet bull,
loses itself in the night without song of fishes
and in the white thicket of frozen smoke.
I don't want to cover his face with handkerchiefs
that he may get used to the death he carries.
Go, Ignacio, feel not the hot bellowing
Sleep, fly, rest: even the sea dies!
4. Absent Soul
The bull does not know you, nor the fig tree,
nor the horses, nor the ants in your own house.
The child and the afternoon do not know you
because you have dead forever.
The shoulder of the stone does not know you
nor the black silk, where you are shuttered.
Your silent memory does not know you
because you have died forever
The autumn will come with small white snails,
misty grapes and clustered hills,
but no one will look into your eyes
because you have died forever.
Because you have died for ever,
like all the dead of the earth,
like all the dead who are forgotten
in a heap of lifeless dogs.
Nobady knows you. No. But I sing of you.
For posterity I sing of your profile and grace.
Of the signal maturity of your understanding.
Of your appetite for death and the taste of its mouth.
Of the sadness of your once valiant gaiety.
It will be a long time, if ever, before there is born
an Andalusian so true, so rich in adventure.
I sing of his elegance with words that groan,
and I remember a sad breeze through the olive trees.
Little Viennese Waltz- In Vienna there are ten little girls,
a shoulder for death to cry on,
and a forest of dried pigeons.
There is a fragment of tomorrow
in the museum of winter frost.
There is a thousand-windowed dance hall.
Ay, ay, ay, ay!
Take this close-mouthed waltz.
Little waltz, little waltz, little waltz,
of itself of death, and of brandy
that dips its tail in the sea.
I love you, I love you, I love you,
with the armchair and the book of death,
down the melancholy hallway,
in the iris's darkened garret,
Ay, ay, ay, ay!
Take this broken-waisted waltz.
In Vienna there are four mirrors
in which your mouth and the ehcoes play.
There is a death for piano
that paints little boys blue.
There are beggars on the roof.
There are fresh garlands of tears.
Ay, ay, ay, ay!
Take this waltz that dies in my arms.
Because I love you, I love you, my love,
in the attic where the children play,
dreaming ancient lights of Hungary
through the noise, the balmy afternoon,
seeing sheep and irises of snow
through the dark silence of your forehead
Ay, ay, ay, ay!
Take this " I will always love you" waltz
In Vienna I will dance with you
in a costume with
a river's head.
See how the hyacinths line my banks!
I will leave my mouth between your legs,
my soul in a photographs and lilies,
and in the dark wake of your footsteps,
my love, my love, I will have to leave
violin and grave, the waltzing ribbons
Saturday Paseo: Adelina- Oranges
do not grow in the sea
neither is there love in Sevilla.
You in Dark and the I the sun that's hot,
loan me your parasol.
I'll wear my jealous reflection,
juice of lemon and lime-
and your words,
your sinful little words-
will swim around awhile.
Oranges
do not grow in the sea,
Ay, love!
And there is no love in Sevilla!
Serenata- The night soaks itself
along the shore of the river
and in Lolita's breasts
the branches die of love.
The branches die of love.
Naked the night sings
above the bridges of March.
Lolita bathes her body
with salt water and roses.
The branches die of love.
The night of anise and silver
shines over the rooftops.
Silver of streams and mirrors
Anise of your white thighs.
The branches die of love.
Sonnet Of The Sweet Complaint- Never let me lose the marvel
Of your statuelike eyes, or the accent
The solitary rose of your breath
Places on my cheek at night.
I am afraid of being, on this shore,
A branchless trunk, and what I most regret
Is having no flower, pulp, or clay
For the worm of my despair.
If you are my hidden treasure,
If you are my cross, my dampened pain,
If I am a dog, and you alone my master,
Never let me lose what I have gained,
And adorn the branches of your river
With leaves of my estranged.
The Faithless Wife- So I took her to the river
Believing she was a maiden,
But she already had a husband.
It was on St. James night
And almost as if I was obliged to.
The lanterns went out
And the crickets lighted up.
In the farthest street corners
I touched her sleeping breasts
And they opened to me suddenly
Like spikes of hyacinth.
The starch of her petticoat
Sounded in my ears
Like a piece of silk
Rent by ten knives.
Without silver light on their foliage
The trees had grown larger
And a horizon of dogs
Barked very far from the river.
Past the blackberries,
The reeds and the hawthorne
Underneath her cluster of hair
I made a hollow in the earth
I took off my tie,
She too off her dress.
I, my belt with the revolver,
She, her four bodices.
Nor nard nor mothero'pearl
Have skin so fine,
Nor does glass with silver
Shine with such brilliance.
Her thighs slipped away from me
Like startled fish,
Half full of fire,
Half full of cold.
That night I ran
On the best of roads
Mounted on a nacre mare
Without bridle stirrups.
As I'm a man, I won't repeat
The things she said to me.
The light of understanding
Has made me more discreet.
Smeared with sand and kisses
I took her away from the river.
The swords of the lilies
Battled with the air.
I behaved like what I am,
Like a proper gypsy.
I gave her a large sewing basket,
Of strawcolored satin,
But I did not fall in love
For although she had a husband
She told me she was a maiden
When I took her to the river.
The Gipsy And The Wind- Playing her parchment moon
Preciosa comes
Along a watery path of laurels and crystal lights.
The starless silence, fleeing
From her rhythmic tambourine,
Falls where the sea whips and sings,
His night filled with silvery swarms.
High atop the mountain peaks
The sentinels are weeping;
They guard the tall white towers
Of the English consulate.
And gypsies of the water
For their pleasure erect
Little castles of conch shells
And arbors of greening pine.
Playing her parchment moon
Preciosa comes.
The wind sees her and rises,
The wind that never slumbers.
Naked Saint Christopher swells,
Watching the girl as he plays
With tongues of celestial bells
On an invisible bagpipe.
Gypsy, let me lift your skirt
And have a look at you.
Open in my ancient fingers
The blue rose of your womb.
Preciosa throws the tambourine
And runs away in terror.
But the virile wind pursues her
With his breathing and burning sword.
The sea darkens and roars,
While the olive trees turn pale.
The flutes of darkness sound,
And a muted gong of the snow.
Preciosa, run, Preciosa!
Or the green wind will catch you!
Preciosa, run, Preciosa!
And look how fast he comes!
A satyr of lowborn stars
With their long and glistening tongues.
Preciosa, filled with fear,
Now makes her way to that house
Beyond the tall green pines
Where the English consul lives.
Alarmed by the anguished cries,
Three riflemen come running,
Their black capes tightly drawn,
And berets down over their brow.
The Englishman gives the gypsy
A glass of tepid milk
And a shot of Holland gin
Which Preciosa does not drink.
And while she tells them, weeping,
Of her strange adventure,
The wind furiously gnashes
Against the slate roof tiles.
The Guitar- The weeping of the guitar
Begins.
The goblets of dawn
Are smashed.
The weeping of the guitar
Begins.
Useless
To silence it.
Impossible
To silence it.
It weeps monotonously
As water weeps
As the wind weeps
Over snowfields.
Impossible
To silence it.
It weeps for distant
Things.
Hot southern sands
Yearning for white camellias.
Weeps arrow without target
Evening without morning
And the first dead bird
On the branch.
Oh, guitar!
Heart mortally wounded
By five swords.
The Little Mute Boy- The litle boy was looking for his voice.
(The King of the crickets had it.)
In a drop of water
the little boy was looking for his voice.
I do not want it for speaking with;
I will make a ring of it
so that he may wear my silence
on his little finger.
In a drop of water
the little boy was looking for his voice.
(The captive voice, far away.
Put on a cricket' clothes.)
The Weeping- I have shut my windows.
I do not want to hear the weeping.
But from behind the grey walls.
Nothing is heard but the weeping.
There are few angels that sing.
There are few dogs that bark.
A thousand violins fit in the palm of the hand.
But the weeping is an immense angel.
The weeping is an immense dog.
The weeping is an immense violin.
Tears strangle the wind.
Nothing is heard but the weeping.
Train Ride- After rain, through afterglow, the unfolding fan
of railway landscape sidled onthe pivot
of a larger arc into the green of evening;
I remembered that noon I saw a gradual bud
still white; though dead in its warm bloom;
always the enemy is the foe at home.
And I wondered what surgery could recover
our lost, long stride of indolence and leisure
which is labor in reverse; what physic recall the smile
not of lips, but of eyes as of the sea bemused.
We, when we disperse from common sleep to several
tasks, we gather to despair; we, who assembled
once for hopes from common toil to dreams
or sickish and hurting or triumphal rapture;
always our enemy is our foe at home.
We, deafened with far scattered city rattles
to the hubbub of forest birds (never having
"had time" to grieve or to hear through vivid sleep
the sea knock on its cracked and hollow stones)
so that the stars, almost, and birds comply,
and the garden-wet; the trees retire; We are
a scared patrol, fearing the guns behind;
always the enemy is the foe at home.
What wonder that we fear our own eyes' look
and fidget to be at home alone, and pitifully
put of age by some change in brushing the hair
and stumble to our ends like smothered runners at their tape;
We follow our shreds of fame into an ambush.
Then (as while the stars herd to the great trough
the blind, in the always-only-outward of their dismantled
archways, awake at the smell of warmed stone
or the sound of reeds, lifting from the dim
into the segment of green dawn) always
our enemy is our foe at home, more
certainly than through spoken words or from grief-
twisted writing on paper, unblotted by tears
the thought came:
There is no physic
for the world's ill, nor surgery; it must
(hot smell of tar on wet salt air)
burn in fever forever, an incense pierced
with arrows, whose name is Love and another name
Rebellion (the twinge, the gulf, split seconds,
the very raindrops, render, and instancy
of Love).
All Poetry to this not-to-be-looked-upon sun
of Passion is the moon's cupped light; all
Politics to this moon, a moon's reflected
cupped light, like the moon of Rome, after
the deep well of Grecian light sank low;
always the enemy is the foe at home.
But these three are friends whose arms twine
without words; as, in still air,
the great grove leans to wind, past and to come.
Tree, Tree, Dry And Green- Green, how I want you green.
Green wind. Green branches.
The ship out on the sea
And the horse on the mountain.
With the shade around her waist
She dreams on her balcony,
Green flesh, her hair green,
With eyes of cold silver.
Green, how I want you green.
Under the gypsy moon,
All things are watching her
And she cannot see them.
Green, how I want you green.
Big hoarfrost stars
Come with the fish of shadow
That opens the road of dawn.
The fig tree rubs its wind
With the sandpaper of its branches,
And the forest, cunning cat,
Bristles its brittle fibers.
But who will come? And from where?
She is still on her balcony
Green flesh, her hair green,
Dreaming in the bitter sea.
-My friend, I want to trade
My horse for her house,
My saddle for her mirror,
My knife for her blanket.
My friend, I come bleeding
From the gates of Cabra.
-If it were possible, my boy,
I'd help you fix that trade.
But now I am not I,
Nor is my house now my house.
-My friend, I want to die
Decently in my bed.
Of iron, if that's possible,
With blankets of fine chambray.
Don't you see the wound I have
From my chest up to my throat?
-Your white shirt has grown
Thirsy dark brown roses.
Your blood oozes and flees a
Round the corners of your sash.
But now I am not I,
Nor is my house now my house.
-Let me climb up, at least,
Up to the high balconies;
Let me climb up! Let me,
Up to the green balconies.
Railings of the moon
Through which the water rumbles.
Now the two friends climb up,
Up to the high balconies.
Leaving a trail of blood.
Leaving a trail of teardrops.
Tin bell vines
Were trembling on the roofs.
A thousand crystal tambourines
Struck at the dawn light.
Green, how I want you green,
Green wind, green branches.
The two friends climbed up.
The stiff wind left
In their mouths, a strange taste
Of bile, of mint, and of basil
My friend, where is she -tell me-
Where is your bitter girl?
How many times she waited for you!
How many times would she wait for you,
Cool face, black hair,
On this green balcony!
Over the mouth of the cistern
The gypsy girl was swinging,
Green flesh, her hair green,
With eyes of cold silver.
An icicle of moon
Holds her up above the water.
The night became intimate
Like a little plaza.
Drunken 'Guardias Civiles'
Were pounding on the door.
Green, how I want you green.
Green wind. Green branches.
The ship out on the sea.
And the horse on the mountain.
Weeping- Weeping,
I go down the street
Grotesque, without solution
With the sadness of Cyrano
And Quixote.
Redeeming
Infinite impossiblities
With the rhythm of the clock.
(The captive voice, far away.
Put on a cricket' clothes.)