And then he would lift this finest
of furniture to his big left shoulder
and tuck it in and draw the bow
so carefully as to make the music
almost visible on the air. And play
and play until a whole roomful of the sad
relatives mourned. They knew this was
drawing of blood, threading and rethreading
the needle. They saw even in my father's
face how well he understood the pain
he put them to--his raw, red cheek
pressed against the cheek of the wood . . .
And in one stroke he brings the hammer
down, like mercy, so that the young bull's
legs suddenly fly out from under it . . .
While in the dream he is the good angel
in Chagall, the great ghost of his body
like light over the town. The violin
sustains him. It is pain remembered.
Either way, I know if I wake up cold,
and go out into the clear spring night,
still dark and precise with stars,
I will feel the wind coming down hard
like his hand, in fever, on my forehead.
|From Out-of-the-Body Travel by Stanley Plumly. Copyright © 1974, 1975, 1976 by Stanley Plumly. Reprinted by permission of The Ecco Press.|