Wednesday, May 11, 2011

Not to be confused with the Natalie Portman movie

The Black Swan

By James Merrill 1926–1995 James Merrill
Black on flat water past the jonquil lawns
       Riding, the black swan draws
A private chaos warbling in its wake,
Assuming, like a fourth dimension, splendor   
That calls the child with white ideas of swans   
       Nearer to that green lake
    Where every paradox means wonder.

Though the black swan’s arched neck is like   
       A question-mark on the lake,
The swan outlaws all possible questioning:   
A thing in itself, like love, like submarine   
Disaster, or the first sound when we wake;
       And the swan-song it sings
    Is the huge silence of the swan.

Illusion: the black swan knows how to break   
       Through expectation, beak
Aimed now at its own breast, now at its image,   
And move across our lives, if the lake is life,   
And by the gentlest turning of its neck
       Transform, in time, time’s damage;
    To less than a black plume, time’s grief.

Enchanter: the black swan has learned to enter   
       Sorrow’s lost secret center
Where like a maypole separate tragedies
Are wound about a tower of ribbons, and where   
The central hollowness is that pure winter
       That does not change but is
    Always brilliant ice and air.

Always the black swan moves on the lake; always
       The blond child stands to gaze   
As the tall emblem pivots and rides out
To the opposite side, always. The child upon   
The bank, hands full of difficult marvels, stays
       Forever to cry aloud
    In anguish: I love the black swan.

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