“The Lacquer Liquor Locker”

Now once upon a time the King of Astrakhan, at that,
Was sitting on his throne because his throne was where he sat;
And comfortably beside him, and magnificently stocked,
Was a lacquer liquor locker which a liquor lackey locked.

“My boy,” the King would often say with granulated voice,
“I think the 1640 is particularly choice.”
The boy would understand and so, endeavoring to please,
He’d try his luck at fitting several likely locker keys.

The King was always miuch annoyed because of this delay:
“See here, my lad, you’ve got to throw those other keys away.”
“This minute, Sire?” “This minute, sir!” And with a pox that pocked,
He cursed the keys which didn’t keep his liquor locker locked.

The lackey did as he was bid. Alackalasalack!
He threw them all so far away that no one threw them back.
A silly throw, as I can show, for he was simply shocked
To find he lacked the very one that left the liquor locked.

“O Sire, I’ve thrown them all away!” “Look here, my liquor lad!”
“It so befell I threw as well the one I wish I had.”
And since it was the kind of lock that isn’t quickly picked,
The lacquer liquid locker had the little lackey licked.

Unhappy page! In such a rage a king is hard to calm;
A butt or tun of ’51’s the proper kind of balm.
“I always liked my liquor locked, from brandy down to beer;
It might as well be lacquer now as liquor under here.”

Not magic of the magi nor the wisdom of the wise
Could either find the key again or ply where it applies.
The stricken King of Astrakhan soon sickened unto death,
Who tasted not of bitters but what most embittereth.

The little lackey lastly fell into a deep decline,
And evil over all the land to shrivel up the vine:
And now the only vintages of Astrakhan are crocked
In that lacquer liquor locker which a liquor lackey locked.

— David McCord

“Rebecca”

A Trick that everyone abhors
In Little Girls is slamming Doors.
A Wealthy Banker’s Little Daughter,
Who lived in Palace Green, Bayswater
(By name Rebecca Offendort),
Was given to the Furious Sport.
She would deliberately go
And Slam the door like Billy-Ho!
To make her Uncle Jacob start.
She was not really bad at heart,
But only rather rude and wild:
She was an aggravating child. …

It happened that a Marble Bust
Of Abraham was standing just
Above the Door this little Lamb
Had carefully prepared to Slam,
And Down it came! It knocked her flat!
It laid her out! She looked like that!

https://www.google.com/books/edition/The_Bad_Child_s_Book_of_Beasts/6Sg3FQXWx2cC?hl=en&gbpv=1&pg=PA160&printsec=frontcover

Her funeral Sermon (which was long
And followed by a Sacred Song)
Mentioned her Virtues, it is true,
But dwelt upon her Vices too,
And showed the Dreadful End of One
Who goes and slams the door for Fun.

The children who were brought to hear
The awful Tale from far and near
Were much impressed, and inly swore
They never more would slam the Door.
— As often they had done before.

https://www.google.com/books/edition/The_Bad_Child_s_Book_of_Beasts/6Sg3FQXWx2cC?hl=en&gbpv=1&pg=PA162&printsec=frontcover

— Hilaire Belloc

“Ballade of Soporific Absorption”

Ho! Ho! Yes! Yes! It’s very all well,
You may drunk I am think, but I tell you I’m not,
I’m as sound as a fiddle and fit as a bell,
And stable quite ill to see what’s what.
I under do stand you surprise a got
When I headed my smear with gooseberry jam;
And I’ve swallowed, I grant, a beer of lot —
But I’m not so think as you drunk I am.

Can I liquor my stand? Why, yes, like hell!
I care not how many a tossed I’ve pot,
I shall stralk quite weight and not yutter an ell,
My feech will not spalter the least little jot:
If you knownly had own! — well, I gave him a dot,
And I said to him, ‘Sergeant, I’ll come like a lamb —
The floor it seems like a storm in a yacht,
But I’m not so think as you drunk I am.”

For example, to prove it I’ll tale you a tell —
I once knew a fellow named Apricot —
I’m sorry, I just chair over a fell —
A trifle — this chap, on a very day hot —
If I hadn’t consumed that last whisky of tot! —
As I said now, this fellow, called Abraham —
Ah? One more? Since it’s you! Just a do me will spot —
But I’m not so think as you drunk I am.

Envoi

So, Prince, you suggest I’ve bolted my shot?
Well, like what you say, and soul your damn!
I’m an upple litset by the talk you rot —
But I’m not so think as you drunk I am.

— J.C. Squire

Bad Stanzas

From William Wordsworth, “Goody Blake and Harry Gill”:

Of waistcoats Harry has no lack,
Good duffle grey, and flannel fine;
He has a blanket on his back,
And coats enough to smother nine.

From Charles Wesley, “On the Sight of a Corpse”:

Ah lovely appearance of Death!
What sight upon earth is so fair?
Not all the gay pageants that breathe
Can with a dead body compare.

From Richard Le Gallienne, “Beauty Accurst”:

The sleepy kine move round me in desire
And press their oozy lips upon my hair,
Toads kiss my feet and creatures of the mire,
The snails will leave their shells to watch me there.

From John Scott of Amwell, “To a Friend, Apprehensive of Declining Friendship”:

Too much in man’s imperfect state
Mistake produces useless pain.–
Methinks, of friendship’s frequent fate
I hear my Frogley’s voice complain.

From Isaac Watts, “On the Sudden Death of Mrs. Mary Peacock”:

Hark! she bids all her friends adieu;
Some angel calls her to the spheres;
Our eyes the radiant saint pursue
Through liquid telescopes of tears.

In The Stuffed Owl, D. B. Wyndham Lewis quotes this anonymous verse:

I always knew what sort of weather
We were going to have,
For Cynthia never wore her feather
When the weather would be bad.

But when the days were warm and bright
Cynthia wore a feather,
Sometimes black and sometimes white,
The colour doesn’t count whatever.

Double Duty

J.A. Lindon composed this remarkable pair of monosyllabic poems in 1969. The two read the same, but each has its own rhyme scheme, and each is a distinct acrostic, the first letter of each line spelling out the title.

Cats, Cats, Cats, Cats!

Cats come with mews,
All have sharp claws,
They air their views.
Stray soon from laws,
Climb wall. Each tom
And each mog — grand
Thieves — munch meal from
Scamp’s lunch. Scamp planned …

Chain off, he might
Aim at a rout,
Touch mogs and bite
Such prime bits out!
Chance came. Grey dawn.
At once left mat.
The deuce! On lawn -­
Scamp loose — no cat!

Chase ’em, Scamp, Go On!

Cats come with mews, all
Have sharp claws, they
Air their views, stray
Soon from laws, climb wall.

Each tom and
Each mog — grand thieves — munch
Meal from Scamp’s lunch.
Scamp planned …

Chain off, he might aim
At a rout, touch
Mogs and bite such
Prime bits out. Chance came.

Grey dawn. At
Once left mat. The deuce!
On lawn — Scamp loose -­
No cat!

(J.A. Lindon and Walter Shedlofsky, “Convertible Acrostics,” Word Ways 2:3 [August 1969], 159-161.)

Applied Geometry

George Wither wrote this “rhomboidal dirge” in 1622:

                        Ah me!
                    Am I the swain
              That late from sorrow free
          Did all the cares on earth disdain?
      And still untouched, as at some safer games,
  Played with the burning coals of love, and beauty's flames?
Was't I could dive, and sound each passion's secret depth at will?
And from those huge o'erwhelmings rise, by help of reason still?
    And am I now, O heavens! for trying this in vain,
        So sunk that I shall never rise again?
          Then let despair set sorrow's string,
              For strains that doleful be;
                    And I will sing,
                        Ah me!

                        But why,
                      O fatal time,
                Dost thou constrain that I
          Should perish in my youth's sweet prime?
      I, but awhile ago, (you cruel powers!)
  In spite of fortune, cropped contentment's sweetest flowers,
And yet unscornèd, serve a gentle nymph, the fairest she,
That ever was beloved of man, or eyes did ever see!
    Yea, one whose tender heart would rue for my distress;
        Yet I, poor I! must perish ne'ertheless.
          And (which much more augments my care)
                  Unmoanèd I must die,
                    And no man e'er
                      Know why.

                      Thy leave,
                    My dying song,
                Yet take, ere grief bereave
            The breath which I enjoy too long,
        Tell thou that fair one this: my soul prefers
    Her love above my life; and that I died her's:
And let him be, for evermore, to her remembrance dear,
Who loved the very thought of her whilst he remained here.
  And now farewell! thou place of my unhappy birth,
      Where once I breathed the sweetest air on earth;
            Since me my wonted joys forsake,
                And all my trust deceive;
                    Of all I take
                      My leave.

                        Farewell!
                  Sweet groves, to you!
                You hills, that highest dwell;
              And all you humble vales, adieu!
          You wanton brooks, and solitary rocks,
      My dear companions all! and you, my tender flocks!
Farewell my pipe, and all those pleasing songs, whose moving strains
Delighted once the fairest nymphs that dance upon the plains!
        You discontents, whose deep and over-deadly smart
          Have, without pity, broke the truest heart.
              Sighs, tears, and every sad annoy,
                That erst did with me dwell,
                    And all other joys,
                        Farewell!

                          Adieu!
                    Fair shepherdesses!
                  Let garlands of sad yew
              Adorn your dainty golden tresses.
        I, that loved you, and often with my quill,
    Made music that delighted fountain, grove, and hill;
I, whom you loved so, and with a sweet and chaste embrace.
Yea, with a thousand rather favours, would vouchsafe to grace,
        I now must leave you all alone, of love to plain;
            And never pipe, nor never sing again!
              I must, for evermore, be gone;
                  And therefore bid I you,
                      And every one,
                          Adieu!

                        I die!
                    For, oh! I feel
              Death's horrors drawing nigh,
            And all this frame of nature reel.
          My hopeless heart, despairing of relief,
    Sinks underneath the heavy weight of saddest grief;
Which hath so ruthless torn, so racked, so tortured every vein,
All comfort comes too late to have it ever cured again.
    My swimming head begins to dance death's giddy round;
        A shuddering chillness doth each sense confound;
            Benumbed is my cold sweating brow
                A dimness shuts my eye.
                  And now, oh! now,
                        I die!

In 1968, conceptual artist Douglas Huebler used small bits of self-sticking paper to mark the vertices of two giant imaginary hexagons in Boston and New York. “The world is full of objects, more or less interesting; I do not wish to add any more,” he wrote later. “I prefer, simply, to state the existence of things in terms of time and place.”

Limerick

Said a boy to his teacher one day,
“Wright has not written rite right, I say.”
And the teacher replied,
As the error she eyed,
“Right! Wright: Write rite right, right away!”