The Project Gutenberg eBook of Puella mea, by E. E. Cummings

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Title: Puella mea

Author: E. E. Cummings

Artists: Paul Klee

Pablo Picasso

Amedeo Modigliani

Kurt Roesch

Release Date: February 12, 2022 [eBook #67384]

Language: English

Produced by: Charlene Taylor, Linda Cantoni, and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)

*** START OF THE PROJECT GUTENBERG EBOOK PUELLA MEA ***

Transcriber's Note: Idiosyncrasies of spelling, punctuation, and capitalization have been retained as they appear in the original.

cover
title

PUELLA MEA

author

BY E.E. CUMMINGS

COPYRIGHT MCMXXIII BY E E CUMMINGS PRINTED IN THE UNITED STATES OF AMERICA

artwork
Harun Omar and Master Hafiz
keep your dead beautiful ladies.
Mine is a little lovelier
than any of your ladies were.
In her perfectest array
my lady, moving in the day,
is a little stranger thing
than crisp Sheba with her king
in the morning wandering.
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Through the young and awkward hours
my lady perfectly moving,
through the new world scarce astir
my fragile lady wandering
in whose perishable poise
is the mystery of Spring
(with her beauty more than snow
dexterous and fugitive
my very frail lady drifting
distinctly, moving like a myth
in the uncertain morning, with
April feet like sudden flowers
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and all her body filled with May)
—moving in the unskilful day
my lady utterly alive,
to me is a more curious thing
(a thing more nimble and complete)
than ever to Judea’s king
were the shapely sharp cunning
and withal delirious feet
of the Princess Salome
carefully dancing in the noise
of Herod’s silence, long ago.
If she a little turn her head
i know that i am wholly dead:
nor ever did on such a throat
the lips of Tristram slowly dote,
La beale Isoud whose leman was.
And if my lady look at me
(with her eyes which like two elves
incredibly amuse themselves)
with a look of færie,
perhaps a little suddenly
(as sometimes the improbable
beauty of my lady will)
—at her glance my spirit shies
rearing (as in the miracle
of a lady who had eyes
which the king’s horses might not kill.)
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But should my lady smile, it were
a flower of so pure surprise
(it were so very new a flower,
a flower so frail, a flower so glad)
as trembling used to yield with dew
when the world was young and new
(a flower such as the world had
in Springtime when the world was mad
and Launcelot spoke to Guenever,
a flower which most heavy hung
with silence when the world was young
and Diarmid looked in Grania’s eyes.)
But should my lady’s beauty play
at not speaking (somtimes as
it will) the silence of her face
doth immediately make
in my heart so great a noise,
as in the sharp and thirsty blood
of Paris would not all the Troys
of Helen’s beauty: never did
Lord Jason (in impossible things
victorious impossibly)
so wholly burn, to undertake
Medea’s rescuing eyes; nor he
when swooned the white egyptian day
who with Egypt’s body lay.
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Lovely as those ladies were
mine is a little lovelier.
And if she speak in her frail way,
it is wholly to bewitch
my smallest thought with a most swift
radiance wherein slowly drift
murmurous things divinely bright;
it is foolingly to smite
my spirit with the lithe free twitch
of scintillant space, with the cool writhe
of gloom truly which syncopate
some sunbeam’s skilful fingerings;
it is utterly to lull
with foliate inscrutable
sweetness my soul obedient;
it is to stroke my being with
numbing forests frolicsome,
fleetly mystical, aroam
with keen creatures of idiom
(beings alert and innocent
very deftly upon which
indolent miracles impinge)
—it is distinctly to confute
my reason with the deep caress
of every most shy thing and mute,
it is to quell me with the twinge
of all living intense things.
Never my soul so fortunate
is (past the luck of all dead men
and loving) as invisibly when
upon her palpable solitude
a furtive occult fragrance steals,
a gesture of immaculate
perfume—whereby (with fear aglow)
my soul is wont wholly to know
the poignant instantaneous fern
whose scrupulous enchanted fronds
toward all things intrinsic yearn,
the immanent subliminal
fern of her delicious voice
(of her voice which always dwells
beside the vivid magical
impetuous and utter ponds
of dream; and very secret food
its leaves inimitable find
beyond the white authentic springs,
beyond the sweet instinctive wells,
which make to flourish the minute
spontaneous meadow of her mind)
—the vocal fern, always which feels
the keen ecstatic actual tread
(and thereto perfectly responds)
of all things exquisite and dead,
all living things and beautiful.
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(Caliph and king their ladies had
to love them and to make them glad,
when the world was young and mad,
in the city of Bagdad—
mine is a little lovelier
than any of those ladies were.)
Her body is most beauteous,
being for all things amorous
fashioned very curiously
of roses and of ivory.
The immaculate crisp head
is such as only certain dead
and careful painters love to use
for their youngest angels (whose
praising bodies in a row
between slow glories fleetly go.)
Upon a keen and lovely throat
the strangeness of her face doth float,
which in eyes and lips consists
—always upon the mouth there trysts
curvingly a fragile smile
which like a flower lieth (while
within the eyes is dimly heard
a wistful and precarious bird.)
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Springing from fragrant shoulders small,
ardent, and perfectly withal
smooth to stroke and sweet to see
as a supple and young tree,
her slim lascivious arms alight
in skilful wrists which hint at flight
—my lady’s very singular
and slenderest hands moreover are
(which as lilies smile and quail)
of all things perfect the most frail.
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(Whoso rideth in the tale
of Chaucer knoweth many a pair
of companions blithe and fair;
who to walk with Master Gower
in Confessio doth prefer
shall not lack for beauty there,
nor he that will amaying go
with my lord Boccaccio—
whoso knocketh at the door
of Marie and of Maleore
findeth of ladies goodly store
whose beauty did in nothing err.
If to me there shall appear
than a rose more sweetly known,
more silently than a flower,
my lady naked in her hair—
i for those ladies nothing care
nor any lady dead and gone.)
Each tapering breast is firm and smooth
that in a lovely fashion doth
from my lady’s body grow;
as morning may a lily know,
her petaled flesh doth entertain
the adroit blood’s mysterious skein
(but like some passionate earlier
flower, the snow will oft utter,
whereof the year has perfect bliss—
for each breast a blossom is,
which being a little while caressed
its fragrance makes the lover blest.)
Her waist is a most tiny hinge
of flesh, a winsome thing and strange;
apt in my hand warmly to lie
it is a throbbing neck whereby
to grasp the belly’s ample vase
(that urgent urn which doth amass
for whoso drinks, a dizzier wine
than should the grapes of heaven combine
with earth’s madness)—’tis a gate
unto a palace intricate
(whereof the luscious pillars rise
which are her large and shapely thighs)
in whose dome the trembling bliss
of a kingdom wholly is.
Beneath her thighs such legs are seen
as were the pride of the world’s queen:
each is a verb, miraculous
inflected oral devious,
beneath the body’s breathing noun
(moreover the delicious frown
of the grave great sensual knees
well might any monarch please.)
Each ankle is divinely shy;
as if for fear you would espy
the little distinct foot (if whose
very minuteness doth abuse
reason, why then the artificer
did most exquisitely err.)
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When the world was like a song
heard behind a golden door,
poet and sage and caliph had
to love them and to make them glad
ladies with lithe eyes and long
(when the world was like a flower
Omar Hafiz and Harun
loved their ladies in the moon)
—fashioned very curiously
of roses and of ivory
if naked she appear to me
my flesh is an enchanted tree;
with her lips’ most frail parting
my body hears the cry of Spring,
and with their frailest syllable
its leaves go crisp with miracle.
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Love!—maker of my lady,
in that alway beyond this
poem or any poem she
of whose body words are afraid
perfectly beautiful is,
forgive these words which i have made.
And never boast your dead beauties,
you greatest lovers in the world!
who with Grania strangely fled,
who with Egypt went to bed,
whom white-thighed Semiramis
put up her mouth to wholly kiss—
never boast your dead beauties,
mine being unto me sweeter
(of whose shy delicious glance
things which never more shall be,
perfect things of færie,
are intense inhabitants;
in whose warm superlative
body do distinctly live
all sweet cities passed away—
in her flesh at break of day
are the smells of Nineveh,
in her eyes when day is gone
are the cries of Babylon.)
Diarmid Paris and Solomon,
Omar Harun and Master Hafiz,
to me your ladies are all one—
keep your dead beautiful ladies.
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Eater of all things lovely—Time!
upon whose watering lips the world
poises a moment (futile, proud,
a costly morsel of sweet tears)
gesticulates, and disappears—
of all dainties which do crowd
gaily upon oblivion
sweeter than any there is one;
to touch it is the fear of rhyme—
in life’s very fragile hour
(when the world was like a tale
made of laughter and of dew,
was a flight, a flower, a flame,
was a tendril fleetly curled
upon frailness) used to stroll
(very slowly) one or two
ladies like flowers made,
softly used to wholly move
slender ladies made of dream
(in the lazy world and new
sweetly used to laugh and love
ladies with crisp eyes and frail,
in the city of Bagdad.)
Keep your dead beautiful ladies
Harun Omar and Master Hafiz.
artwork

This edition of E.E. Cummings’ Puella Mea with reproductions of drawings and paintings by Klee is made possible through the kind permission of Curt Valentin of Buchholz Gallery. The Modigliani drawing is used by the courtesy of his publishers, in Milan, Italy. For the drawing by Picasso thanks are due to Mary Callery, who consented to its use. Kurt Roesch contributed his drawing which is the only illustration expressly made for this book when it was decided to have work by other modern masters in addition to the one drawing by the author himself, which appears on the first text page of his poem.

S.A. JACOBS, THE GOLDEN EAGLE PRESS

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