About the D.

Dunn
- first success: 1969, Terry Street
- now hes a freelancer writer living in Hull
- Terry Street was important, because it was a realistic portrait of the surfaces of humrum urban
living! " pictures ay to ay life, rural wor#ing$class Scottish
- %ever trie to choose a particular sub&ect
- 'oos: felt li#e an outcast in his city an in the street he live
- (t university: got tire of the canonise )ritish literature, later trie to avoi writing li#e that " no
chilhoo, no affolils, no speculation about infinity, always maintain moern clarity
- Then in 1966 he reali*e free verse is cool " before that, he felt that it was a la*y form of literature
incapable of e+pressing eep things
- (fter terry street he wrote both #ins of poems " traitional forms can inhibit imagination!, 'etre is
sometimes too specific, cannot e+cluing uncertainty
- He refuses to be a political poet
- )arbarians -19.9/ " about class, races, national superiorities " written mostly in metre, because the
reaers woul not e+pect a barbarian! to write li#e this $0 contraiction
- 1n his opinion, poetic forms are sometimes only use to create an image of the poet himself
- 2ifference 3 opposition
(bout the poet " te+t 4
- 2unn has a nee for privacy, peace an 5uiet, liberty to aress personal or local concerns
- 6ften writes about the relationship between art an politics
- He is rawn towars lyric purity " this shows in his elegies
- His wor#s have a graual movement from moern to traitional forms -sonnet, pentameter, 5uatrain,
tetrameter, ter*a rima/
- His poems have comple+ linguistic an political issues " writes in stanar 7nglish, unli#e Harrison
1
Harrison
- classicist from the wor#ing class " for a mass auience, but with contraictions in style -vulgar, yet
eucate/
- language " contraiction " in theory all versions of 7nglish are e5ual, yet in many parts of society
some #ins are less e5ual than others " political, historical reasons -repression of the wor#ing class,
etc/
- accoring to critics Harrison is a revengful schoolboy! " eucate, but turning against those who
eucate them an against what they taught
- for him, poetry is wor# -81 strive to #eep my lines irect an straight/, an he shows this process in
his poems " -82espite his insistence on slang, obscenities an tags in his poetry, his tone is that of
aristocracy, imagination an intellect/
V:
- sign of victory, sign of insult, abbreviation of versus, )iblical abbr, for 8verse
- his poems 8assault the iambic line " almost li#e that, but consciously ifferent
- s#inhea " the poets alterego, everything is unite in the en
- poet 9 the higher being, who fights against the 8four letter wors, an the s#inhea, member of the
wor#ing class, uneucate
- issues: white v, (sian, police v, pic#ets, man v, woman, :rotestan v, ;atholic, ;ommunist v, <ascist ,
soul v, boy, heart v, min " all is unifie in 8vast, coal$creating forces " time an stuff
Carol Ann Duffy
$ ;eltic ancestry, ;atholic bac#groun
$ ;ities: emigrant cities =lasgow -where she live/, >iverpool -where she stuie/
$ (lienation in 7nglan " basically a citi*en, but also an emigrant
$ Her poems " contain fascination with the past, although ont contain history itself " only processes
-li#e in >iverpool " rugs, economic ecline, rin#/
$ She oesnt care about the worl before 19?@ " creating a fragile, e+pose toay
$ 'elts big processes an orinary life " esolation, alienation, urban homogenity
$ Aritings about school an eucation: a micro$history of recent times " chilren absorbe by
curriculum, routines at school
4
$ She always gets right to the main sub&ect
$ Secon person narration " involves the reaer, provo#es the auience
$ 2uffys an e+cellent love poet " e+pressing
Critical Perspective - Medbh McGuckian
'ebh 'c=uc#ianBs poetry establishes a rich inner worl of feinine sensibility, characteristically
conveye in ornate language an comple+, unpreictable imagery, The sensual an fre5uently erotic play of
her verse relies on otifs of colour and nature, on reams an the subconscious, an on a se5uence of
doestic spaces: besC roomsC winows an houses, Her aesthetic vision is elusive, even surrealist, yet her
convolute metaphoric se5uences are full of meaningful possibilities:

BShe seems a garen escape in her unconscious
soliarity with ar#ness, clove$scente
as an orchi ta#ing fifteen years to bloom,
an turning cloc#wise as the honeysuc#le,B -BThe <littingB/
'c=uc#ianBs writing presents obvious problems for critics confoune by her une+pecte leaps of
perspective an her apparent flouting of grammatical sense, Her seuctive lyricism inuces at times a false
sense of security, which initially isguises the unorthoo+y of her synta+ an the eliberate is&unctions of
her phrasing, Her s#ewe linguistic structures consistently unermine a rational narrative, an the suturing of
what first appears coherent to what then evaes logic establishes a ynamic tension in her writing, 'eaning
can only be glimpse provisionally, through a process of BunfolingB, as the critic ;lair Aills has illustrate in
her important commentary on 'c=uc#ianBs wor# -Improprieties, 199D/, This leas to a resilient ambiguity in
her verse $ a tric#iness the poet herself ac#nowleges:

B'y wors are traps E
through which you pic# your way
D
from a amp 'arch to an (pril ate,
or a mi$(ugust misstep ,,,B -B6n )allycastle )eachB/,

The resultant obscurity in much of 'c=uc#ianBs wor# may irritate those see#ing BsecureB reaings of the
verse, but appeals at the same time to those prepare to accommoate its ineterminacy, Her writing
emans in her reaers a raical a&ustment of interpretative proceures, an necessitates a significant
linguistic an semantic re$orientation,

'c=uc#ianBs 19F4 collection, The Flower Master, establishe her as a poet of female e+perience through its
negotiation of pregnancy, birth an motherhoo, 2ominate by flower imagery, these poems interrogate the
processes of growth, bloom an ecay, but in tones of uncertainty rather than celebration, %either nature nor
maternity seem stable, House, garen an female boy coalesce as sites of incoherence an fragmentation,
an omestic images suggest physical an emotional isturbance:

B'y ishes on the raining$boar
>ie at an even #eel, the baby lowere
1nto his lobster$pot penC my sponge
2isintegrates in water li#e a birBs nest,
( permanent wave gone west,B -B:ower ;utB/

The pervasive sense of unease within the female space continues in 'c=uc#ianBs follow$up collection, Venus
an the Rain -19F?/, Here, the ac#nowlege satisfactions of motherhoo are unercut by insecurities in
se+ual an emotional partnerships: B7ach lighte E winow shows me carigane, more esolate E than the
garen ,,,B -B6n %ot )eing Gour >overB/, The interior worl is fraught with absences an weighte silences,
an shot through with episoes of an+iety,

1n On Ballycastle Beach -19FF/, the lanscape of 1relanBs %orth (ntrim coast is the setting for 'c=uc#ianBs
stuy of the self as flui an mutable, Ahile still attache to Bthe houseB as its #ey space, these poems move
outwars to images of clous an tiesC the Bathletic anatomy of waves, in their E Heflectiveness, rebirth ,,,B
?
-BSea or S#yIB/, The female boy remains connecte to e+periences of motherhoo but opens again to wier
natural impulses, The collection is also patterne by memories, of places, emotions an relationships, as
though the poet see#s location in time an space:

B( town will never raw your min to it
>i#e a place where you have campe,
Gou will remember the very curve
6f your wagon$trac# in the grass
Ahere the ring swaye an was bro#en, almost,
(s if someone ha crie a message to you ,,,B -B)ala#hanaB/

The same geographical lanscape unerpins Marconi's Cottage -1991/, which 'c=uc#ian buils aroun the
title image of the forefather of moern communication, This is an opportunity to consier, through 'arconi,
concepts of connection $ the sources an synapses of artistic vision, The volume conveys a growth in self$
confience on the part of a poet now reay for mature reflection on the creative process: BThreshing a poem E
or a grape harvest E ta#es four e5ual limbs E an a hori*ontal cutting E that has always alreay begun,B -BThe
Snow Spea#erB/,

Several critics of 'c=uc#ianBs wor# have e+presse the view that her interior, feminine aesthetic fails to
register a public community, an lac#s therefore the political engagement of her fellow %orthern 1rish poets,
1n her later collections however, a fragile poetic lanscape is constantly contaminate by the isorer of the
outsie worl, 1n Captain Lavender -199?/, the poetBs grief for her ea father merges with grief for a bro#en
society at large, These poems ta#e on ar#er nuances an signal towars national events, BThe (lbert ;hainB,
for e+ample, foregrouns war, eath, &ugment, betrayal: its sinister images are of the terrorist an the
butcher, BThe Aar 2egreeB evinces a similar political tension: Bheart$staine autumn rove E fierce half$bric#s
into the hegesC tree$muffle E streets vanishe in the lac# of newsB, Private and doestic conte!ts cannot
but be arked by public a""ression and its conse#uences, as 'c=uc#ian emphasises in the volumeBs
epigraph, ta#en from :icasso: B1 have not painte war ,,, but 1 have no oubt that the war is in these paintings
1 have one,B

@
2irect an obli5ue confrontations with an 1rish political inheritance ominate her later wor#, 1n helmalier
-199F/, 'c=uc#ian eals with the faile rebellion of the Jnite 1rishmen in 1.9F, aressing an 1rish
cultural sensibility steepe in a militant ieological history: B)efore violence was actually offere E to us, we
followe a trail of worsB -BThe Society of the )ombB/, Several poems also implicitly re$connect the spheres
of female an male in the collaboration of imagery: sea an water merge with lan an islan in an organic $
if problematic $ system, The volume as a whole suggests an acceptance of the fact that public history an
private sensibility can never be #ept separate, in a broaening of political an civic vision which 'c=uc#ian
consoliates in her more recent collection, The Face o! the "arth -4KK4/,

(s a poet who relentlessly efamiliarises image an language, yet pursues the most traitional of poetic
matter $ emotion, sensibility an interiority $ 'c=uc#ian is full of intriguing ambiguities, 7mbracing both
personal an political spaces, her rich an surprising aesthetic continues to istinguish her among her
%orthern 1rish contemporaries, her innovative poetic lanscape emaning, at every stage, alternative means
of critical engagement,
M.McGuckian
$hees
'ost of the themes an issues that 'c=uc#ian aresses in her poetry are typically feminine, She is
generally rea Las a poet obsessively concerne with femininity, with her personal life, even with the
imensions of her house, to the e+clusion of wier, more public concernsL -Aills 61/, Her poetry is full of
images of nature an the home, such as the moon, flowers, water, house, pregnancy, an birthC an in many
of her poems, nature is representative of the feminine unconscious, 1t is also important to note that she only
inirectly escribes the boy by using these symbols , <or e+ample, 'c=uc#ian typically uses the home as
the metaphorical e5uivalent for a womanMs boy, Similarly, she also concerns herself with a womanMs shape,
her function as a container for a chil, an the subse5uent Lfragmentation of the womanBs boyL -Aills 6D/,
This is e+emplifie in her poem, L'arconiBs ;ottage,L (nother primary theme in 'c=uc#ianBs poetry is
familial relationships, These ta#e the form of both the maternal relationship between mother an chil an
the se+ual relationship between husban an wife, Throughout her seven collections of poetry, she maintains
her feminine language, creates a tension, an opposes the typical male role in society, She offsets the
concrete, omestic e+perience of a woman with mystical imagery, 2escribes her poetry, 'c=uc#ian says,
L1tBs li#e embroiery, 1tBs very feminine, 1 guess, They are very intricate, my poems, a weaving of patterns of
inBs an outBs an contraictions, one thing playing off anotherL -Ailson 19/,
6
Mother%reland
'c=uc#ian is not an orinary %orthern 1rish poet, She oes not clearly aress the social or political
circumstances of her regionC what references she oes ma#e to the ;atholic or nationalist image of 1relan
are veile an obscure, 1n fact, she unercuts the archetypal, nationalist myth of 'other 1relan by turning
this public image into a private iscourse about her boy, 1n her poems LThe HeiressL an LThe Soil 'ap,L
'c=uc#ian creates a tension between politics an her personal, feminine e+perience, (s she oes in these
poems, 'c=uc#ian ientifies woman with the lan, yet oes not reuce her to the common 'other 1relan,
1t is also characteristic of her to imagine the boy as a place of struggle, an, oly, the mother as an alien
figure, LHather than representing the continuity of generations, maternity for 'c=uc#ian is associate with
historical iscontinuity, boily isruption, an lossL -Aills 161/, This can be e+plaine by the way
'c=uc#ian feels towars her country, >i#e many 1rish contemporaries, she e+presses her strong feelings of
both love an hatre towars 1relan, 6n this sub&ect, 'c=uc#ian says in a 19FF interview, L1 onBt thin#
anyone can really be 1rish in 1relan, 1t is such a reaful place, 1tBs bloo$suc#e, you feel li#e youMre
wal#ing in blooL-Ailson 41/,
Philip &arkin' poet -1KK publishe poem/, novelist
- hopes, reams of life are estroye by the reality
- writing only about eep things, to preserve them, efeat time, giving pleasure is also important,
complicate writing narrows auience -attac#ing artistic snobbery, is not anti$intellectualism for him/
- Thomas Hary taught him to write about his social environment, with its language, poetry is seeing
things as they are, his poetic ientity means turning away from the society of others, staning at an
observing, outsie point
- his tones: sharp satirical, conversational an meiative, but one thing is for sure: the conflict between our
reams, hopes e+pectations, an the various ways in which reality serves to ma#e them collapse, wants to
be na#e without all these, but be honest
- poems root in real events, #rings closer readers to his thoughts, he is presente in the poems as a mile$
age bachelor, believing in fates control, an the only honest response to life is to eny any reams of
fulfilment, rebelling is &ust an empty romantic gesture
- scepticism, isillusionment, having no ideals means losing no ideals, criti5ue of an age unable to face
reality an retain its reams
- thees: the passage of time, memory an the past, illusiory visions of man -e,g,love/, ol age, an eath
.
- $ie: time is a chain bining us to earlier hopes an reams, times cruel: remins us of what we might
have ha, an in the light of thatC the isappointment of the present
- deterinistic: something inepenent of us estroys all our attempts to be happy, we use time as an
instrument, in return it eceives -9Ntver/ us, time brings no comfort, even happy memories become
tainte when reali*ing their pastness
- the iea, that acting ifferently at some earlier point in our life, our present woul have been change, is a
deception' time ecies everything, the best thing we can o is to accept it an not ream
- (ein" less deceived: the first step is to fully unerstan time, being less eceive means to be aware our
limitations, an a stanpoint where we can see the illusions of those aroun us
- a reality of life is to wor#, an see that we cannot brea# away from the security which regular
employment offers us, an wor# is even a way to #eep out loneliness, an meninglessness
- )throw away the illusion$ saying that #eing less deceived #rings any com!ort)
- being sociable is not one of the highest virtues, society e+pects you to be li#e that, but its eception too
- &ove: its something hopelessly longe for, its an illusion that love is cure, an lovers promise is empty
promise, love is not about honesty an genuine closeness -e,g,:$alkin" in bed/
- *$alkin" in bed*: a situation when a couple shoul be the most honest to each other, ue to being in a
be together, but in the poem it is impossible, inability to create a close relationship
- >ar#in #nows of himself what #eeps him sane, we e+pect too much of love, it cannot ma#e life ieal for
us
- Possibilities of eanin": >ar#in has also poems representing a more positive view of life 0 Church
%oing$ The &hitsun &eddings -#Ot vers a nOgy #Ptele*QbQl/
- Church Goin": buils from a concrete e+perience, churches ont represent anymore what they were
esigne for, but he reali*es that he usually stops there, +hy,
- the empty church ma#es him thin# about religion in that agnostic -9not sure whether =o e+ists/ age, will
churches be merely museumsI, religion is in ecline, without church our lives lac# a focus for our most
serious concerns, but we will reali*e that we nee that Rfocus!, the tone reflects this change of thin#ing:
first bitter an ironic, then calm, solemn
- that human nee which the church serve in the past, still e+ists in the secular societies, he himself is
pulle towars it, basic ilemma of an age without faith
- in this poem there is a move starting from an iniviual e+perienceEobservation an arrives at a general
an unversali*e point 0 personal e+perience gives creit to those things
- $he -hitsun -eddin"s: theme is similar, observation of several weing parties while boaring train,
typical of >ar#in: the role of a passenger, allowing him an outsie view
F
- panorama of english rural life, reactions of family members, feelings concerning the we couple, gives
the poem reality
- the poets first amuse tone turns into an earnest but unsolemn prayer for their future' the couple gets on
the train, travel symboli*es their life, they go to >onon, an the shower they get is a symbol for their
new hopes of a new life, revitali*ing society
- social rituals are bearers of a traitional sense of community an harmony
- $he unavoidable Conclusion: eath is the only certain solution to the rile of the goal of life, eath
brushes away the possibiliy of our reams to ever become reality, an we are all not aware of the
approach eath 0 we are foole again
- the ol are alreay close to eath, this brings them closer to the poet
- >ar#in sees, that our age eals only with curing the boy -the e+ample of this is the poem about
hospitals/, we are not e5uippe to help the soul before eath, causing more harm
Te Hughes . k/lt0
$ main themes: animal life, nature an the elemental forces of non$human life, the inner turbulence of
moern man who is seen to be cut off from the instinctual -Ps*tPnPs/ sources of his life
$ powerful an often violent energies of nature, relationship between these energies an the ivie nature
of moern man, an of mans own emotions Hughes form is usually free
$ not a cool observer li#e &arkin' e+presses the life of these sub&ects from within
$ for him being a poet ment, to be visionary inspire, to be a shaman
$ in animals he saw the clear manifestation of life$force, showe that the source of this non$human
$ moern man cannot reali*e that this energy is part of the elemental power circiut of the universe
$ animal poems were actually comments on aspects of human life, mainly our relationship with nature,
nature is beyon "ood and evil' its energy is creative
$ later on in his poetry' he continue to e+press a #in of sterilityEnihilism in moern mans response to
life 1 poems of the Cro+ series are to show that beneath the complete espair, there is still an active
voice of survival
$ the core of all this: war between vitality an eath, he saw this wage in nature where no consciousness
of the self intervene to manipulate an animals response to his conition -magyarNn: nincs tuat ami
be*avar, csa# Ps*tPn van, ami soha sem tanNcstalan/, man is able to stan bac# from this, cannot unite act
and feelin"
9
$ moern man allowe a gap between consciousness an instincts, neglecte the inner worl of feeling,
thats why moern man cut off hiself fro the natural ener"ies of the universe, the buren of
consciousness might ivert the energies into destruction
$ this is the conse5uence of the rise of the scientific ideal of ob&ective intelligence, this has provie the
reigning moralita of moern man, the energies were humani*e by religion, but life becae seculari2ed
$ truth can only be e+presse through ob&ective an rational laws, the ialogue with the outer an inner
worl became impossible
$ ia"ination has the power to help us negotiate between the inner an outer worl
$ actually Hughes loo#s bac# beyon ;hristian sources, towars ancient myths, which were the most
connecte to natures life
$ *$hou"ht-3o!*: poem about mins creation of an imaginary fo+ which is also use to symboli*e the
creativity of the poet -I/, the arrangement of stress an pauses is &ust li#e the careful movements of an
actual fo+, poem shows elemental energy, an the complete otherness of animal life, though -animal/
escriptions arent sentientali2ed' their instinctual life fascinates the poet
$ poems about people suggest that man is afrai of his instinctual life, an hanles it li#e something to be
avoie
$ poems about love suggest that the iniviual being in touch with his instinctual springs of feelings, love
is better an stronger
$ -in the poems about +ar, #illing happens because the fears relate to the possible loss of life forces them
#ill " and the moment o! ultimate danger'su!!ering is what de!ines our meaning and e(perience the most/
$ from the volume -od+o -196./, focuses on the ivieness of man, an his relation with the non$
human, man e+ists -ue to the loss connection with the elemental/ in a hostile -ellensOges/ universe, but
man oesnt give, man shoul ac#nowlege some connection if he wants to survive
$ Hughes regars ;hristian mythology as a half-truth' because evil an suffering cant be the creation of
the one christian =o, we create =o to relieve our sense of suffering
$ *-od+o*: a ramatic monologue e+pressing thoughts of a creature half$man, half$best, it see#s uts
ientity, soon becoming self$conscious, attempts to fin a pattern of meaning in the universe
$ has no =o to guie him, in the light of this fact, his freeom is terrible, no meaning of life an he is
aware of itS 0 moern man see#ing to #now himself
$ =o might no be able to control creation, we are all +od+o, e+istence is confusing
$ the Cro+ series: concentrates on the sub&ective e+ploration of mans inner realities, but reali*es that in
cannot be seen ob4ectively' first because it lac#s the proper language, the outer worl is the ominant in
our observation, an science brought the language
1K
$ ;row emboies the inner e+perience of moern man who, lac#ing a guiing religios belief, who faces a
meaningless e+istence, Cro+ is the spirit of enurance, an survival even when everything is terrible,
Cro+ e+perinces moern mans struggle to survive
$ but Cro+ is the blac# selfhoo -sPtOt olalun#/ surviving everything but unable to create anything
$ *Cro+s 3irst &esson*: =o attempts to teach Cro+ to e+press love, crow tries har, but fails an vomits
the hea of a man, after this a vulva -pina/ falls on the mans nec#, an crow flies away with a feeling of
guilt, Cro+ is not to create anything goo, but is aware of the hell bringing into being -tuatNban a* Nltala
o#o*ott ross*na#/
$ se5uence of poems in the Cro+ -e,g, Cro+*s $heolo"y/, says that the fight against evil is effortless,
because the fighter himself carries evil too
$ in the poems aboutEan for chilren, nature is observe with an eye, which is not naive but innocent
$ the Gaudete series of poems suggests that the ivie nature of man can be heale -opposite of the ;row
poems/
-ilfred 5+en
( lPvOs*Nr#o# OlmOnyei ho*tN# meg Ailfre 6wen s*NmNra a #atonNna#, mint Nlo*atna# vM*iT&Nt, s e* a
vM*iT elQtte lebegett minvOgig, ( franciaors*Ngi s*PrnyU s*enveOse#, $ ami#ben Q is rOs*tvett $ Os a polgNri
vilNg #P*Pnye arra #Os*tette, hogy s*Tlni #e*&en a hNborVrTl, <Pl a#arta #elteni (nglia lel#iismeretOt, a
#atonN# helyett a#art bes*Olni #PltOs*etOvel, a#i#ne# nincs elOg WgyessOgW#, hogy a magu# Ore#Oben
megs*Tlal&ana#,
S*Nmos realis*ti#us #PltemOnyOben #itartott intenciT&a mellett, hogy nem Mr semmi olyat, amit egy #P*#atona
meg ne Orthetne, %em #evOsbO bor*almasa# e*e#, mint Hemar5ue lap&ai, 2e 6wen nagyobb #PltQ volt,
semhogy a realis*ti#us sM#on megmarahasson, ( hNborV tOnyei giganti#us s*imbTlumo##N les*ne#, (* Q
XhNborV&aY s*imbTluma les* minen ellensOges#eOsne# Os s*enveOsne#, 7gyi# pillanatban viss*anO* a
vilNg vOgtelen mess*i #e*eteire, a mNsi#ban elQre a hihetetlen tNvoli vOgre, ( #PltemOnye# olvasT&a lNt&a,
hogy #apcsolTi# 6wen a* iQ #i#erWlhetetlen folyNsNba, fPlfee*ve a hatNso#at Os tPrvOnye#et, )lunen a
XvOg*etes lOnye#Y #P*O sorol&a, #i# Shelley s*erint Xmintegy toronybTl, lNt&N# a vOgOt minenne#Y,
Hus*onPtOves volt, Ailfre 6wen tragOiN&a abban van, hogy olyan ologOrt halt meg, amine# motMvumaiban
nem hitt, :acifista volt, mOgis fPlNlo*ta a* OletOt, mert meggyQ*QOse lett, hogy #PtelessOge egyWtt
s*enveni a tPbbie##el, %yugot, s*erOny termOs*etU volt, pra#ti#us Os*&NrNsV, <Pl tuta bNtorMtani a*
11
embereit egy XZTl vanSY vagy XHelyes, fiamSY s*Tval, Sen#i se se&tette, hogy #PltQ, mOg #evOsbO, hogy
egyi#e lehetett volna 7urTpa nagy #PltQine#, %agys*erU tis*t volt Os #itWntettO# #ivNlT vitO*sOgOOrt, mint
Sassoont,
7gOs* #Pnyve csa# elQ#Os*Wlet, [PltemOnyei csa# tPreO#e#, a* Olet #PltQi meglNtNsa felO, 2e van bennW#
tel&essOg Os OrettsOg, &Tval fPlPtte #PltQ&W# Oveine#, =ya#ran nagyon mOlye# Os ga*ago# a tapas*talat
tragOiNiban, 'Ogis ma&nem ismeretlen, ( hNboru s*en*NciTs beNllMtNsai Nrnyat vetette# rN, 7*Ort Mrhat&a
)lunen: X'Og magNt a nagy eurTpai tragOiNt is #PlcsPn#PnyvtNri formNba PltP*tet&W#, 7* mutat&a, milyen
#Pnnyen tu egy Nlmot #Pvetni a* emberisOg,Y
6o#an nagys*er\ #P*PssOgi cOlt lNtna# a hNborVban, tis*tMtT tW*et, amely elho**a a bO#e Os s*abasNg
e*erOves biroalmNt, [Os]bb so#a#ban megs*Wleti# a felismerOs, hogy hatalmas, #olle#tMv ha*ugsNgrTl van
itt s*T, e ett]l a ha*ugsNgtTl nem lehet s*abaulni, (* elme csa# Vgy Tvhat&a meg magNt a tObolytTl, ha
hNborV Os a halNl Omona von*TvN vNli# el]tte, ( hNborVt vilNgvOgi mulatsNgna#, halNltNncna# #e*i# lNtni,
Versek
$ony Harrison
1n poetic terms Harrison returne to 7nglan with a vengeance with the publication of his most famous
poem, V. -19F@/, ( long poem in rhyming 5uatrains eliberately echoing =rayBs "legy in a Country
Churchyard, v), captures a moment in 7nglish life when the collapse of traitional inustries li#e mining
unermine a whole way of life, Harrison puts the resultant nihilism into the mouth of a lager$swilling yobbo
an amits, for all his berating of the youth, that thereBs something of the vanal in him too: he remembers as
a teenager letting off a fire e+tinguisher at a singer an orchestra, The &ustification he gives for this is
revealing:
Ahat 1 hate in those high soprano ranges
Aas uplift beyon all reason an control
(n in a worl where you say nothing changes
1t seeme a sort of pric#tease of the soul,
V.
14
S*N* Ov, Os #utathats*, hogy megtalNl
a csalNi #Pve# #P*t sMromat,
hentes, #ocsmNros, pO#, s most On, a bNr,
#i hVs, sPr, #enyOr mellO verset a,
)yron, hNrom sMrral fel&ebb, e* itt
s*emben Aorsworth, pompNs #is tNrsasNg hNt,
(* elQeim, bi*onyos fo#ig,
s min ugyanott vOge**W#, ha a tNrnN#,
amelye# itt ve*ette# valaha
e parcellN# alatt, beomlana#
Os csont, s*OntPrmelO#, es*#a,
pala mass*N&Nba gyVr&a a holta#at,
Aorsworth orgonNt OpMtett a gQ*gOp
#orNban, )yron cser*Qvarga volt,
%yughelyet itt talNlta#, mielQtt mOg
a legalsT holt &Nrat beomolt,
)eeston hegyolalNn e temetQ
a ma& ne#em is vOgsQ nyughelyet,
a csalNi sMrt nNrcis*, rT*satQ
&el*i, amelyet apNm Wltetett,
S a sMron tVlrTl ellNtogato#
a* is#olNba, hol latint tanultam,
s a pNlyNra, hol a >ees$s*ur#olT#
hOtrQl$hOtre csalTna# csapatu#ban,
s hogy viss*anyel&O# Pnbi*almu#at,
a sMro#at, ahogy NtvNgna# itt,
lefV&&N# festO#sprayvel s a csapat
icsQsOgOre le is vi*eli#,
1D
SWllye a fPl, lent bNnya mU#PPtt,
Zobbra$balra Qlne# a sMr#Pve#,
1tt erre <(S^, ott arra hogy [_;S_=
fV&ta a ranalMro*T tPmeg,
7 ban#Nr obelis*#&On van elOg hely
csalN&a Pss*es halottaina#,
mOgis, #etten pihenne# hitvesOvel
a* elhagyott, e bWs*#e #Q alatt,
Os festO#s*TrTval egy urvasNg,
<iai, uno#Ni mess*e mente#,
meghalni sem tOrte# ha*a,
hNt van hova fir#Nlni a s*#inhee#ne#,
( felirato# #P*Ptt van latin,
e rOgi polgNrmesterOn amott,
vagy a Somme$nNl elhullta# sMr&ain,
s van *soltNr$tPreO#, aranyo*ott
ima, s La* `r magNho* s*TlitottaL,
Os a*tNn bibliai pass*uso#
Os verse#, #ine# mennyire futotta,
Os vOgWl [JHa(, )J^1 s <(S^, e so#S
bs >772S, s egy v, Os egy mNsi# csapat,
a mVlt, a* e vagy a &PvQ heti
ellenfOl s rass*ista s*ito#s*ava#,
a s*#int so# minen felbQs*Mtheti,
S a*tNn, meg ne lNssN#, vagy olga van,
fN#, sMrbolto# #P*t, mint a csapata
leg&obb s*OlsQ&e, ci#N*va rohan
1?
s futtNban a$t mN*ol minenhova,
:rofimT Nll #e*Oben a fla#on,
a a bal s*Nra #issO rPviebb,
mint a pipNO, 2olgo*ato#on
tanNro#tTl sosem #apott ilyet,
<iatalabban, mint e s*#inhee#,
On is mes*eltem a$#et a fala#ra,
2e hNborV volt Os e*t a &elet,
hogy leva#ar&N#, sen#i nem a#arta,
(* Olet minen ellentOte e
so# a: >ees$2erby, Os tapas*talatbTl
tuom, hogy fOr&$felesOg, fe#ete
fehOr, fasis*ta$#ommunista, bal$&obb,
os*tNly os*tNly elleni harcait
&elenti#, harcot a* Q# Os mi #P*t,
19F?$ben itt
a s*a#s*erve*et e* s a bNnya trPs*t,
S*i#hEhinu, lOle#Etest, #eletEnyugat,
OrtelemEOr*elem Os fOrfiEnQ,
embere# min, #i#ne# vNlas*t nem a
a mVlt s nem vNr&N#, mit ho* a &PvQ,
( &elen hely*et nem valami rT*sNs,
hogyha horog#eres*tet fV&na# itt
a sMro#ra, Os hogy %em*eti <ront, s mNs,
piros festO##el mOg a*t, hogy )J^1[,
bpp e* a s*T &Nr fe&emben, mi#or
megtis*togatom vOgre s*Wleimne#
1@
sMr&Nt a ru##ere# mocs#aitTl
s a*t lNtom, J%1T72, Hogy egyesWlte#,
%agy )ritanniNban hNny temetQt
ver fel a gyom, mert a* egOs* csalN,
mint >eesbQl On, vOgleg el#PltP*Ptt,
ha mNshol &obb megOlhetOst talNltS
. Oves voltam, mi#or ?K Ove
apNm #iho*ott nagyanyNmho* engem,
( virNgo#at a sMr&Nra tOve
a*t monta, nagyapNmmal van a 'ennyben,
Hetente &Ptt #i anna# ie&On,
a tOre sNros volt, hogy ha*a&Ptt, 2e
s*Wleim halNla Tta a* On
1K perceimbQl 4 Tra &Pn Pss*e,
7gy$#Ot gyors lNtogatNs minen Ovben,
Os ugyan #ine# a hibN&a, hogy
oly so# s*#in fV&&a a sMrra nevOt s nem
virNg foga, csa# sPrPsobo*o#I
Ha a* urnN#at, a vM*tNrolTt,
a virNgcso#rot tartT #QeOnyt
s*emOttel s*Tr&N# be a s*ur#olT#,
nemcsa# a* Q hibN&u#, ( miOn#,
7gy#apura foci*i# @ gyere#,
( #apufa egy virNgba borult fa,
ha eltalNl&N#, a s*irom pereg,
s Q# rN#e*ene# a *+s,indul-ra,
2ire#t a tPr*sOt cOlo**N#, s as*ott
16
galagonya$esQ *Nporo*i#,
(hogy nO*em a sMron e*t a s*Tt,
mNr$mNr a*t gonolom, mara&on itt,
-:ers*e a*t #MvNn&a a becsWlet,
hogy elmon&am, gonolhattam a#Nrmit,
ha el#e*em is #aparni, csa# egy
TrNm volt a vonat csatla#o*Nsig,
cgy a*tNn lehet, Wres #ifogNs volt
a* egOs* hogy mOrt nem lNttam ne#i
a s*TtTl, amit a s*#in oamN*olt,
s*Wleim sMr&Nt megtis*tMtani,/
Tollam nem varN*spNlca, %em his*em,
hogy van egy s*ebb vilNg is, e apNm
vNltig remOlte, hogy ma& LoafennL
&obb Olete les* anyNm olalNn,
bn nem his*em, hogy volna tVlvilNg,
s bNr tuom, hogy csalNs, mOgsem lehet nem
Vgy olvasni,mint valami imNt,
hogy J%1T72: lel#W# egy lett a 'ennyben,
Mm, egy vOletlen Ortelem$aNs,
s nem sMrgyalN*Ns a* ostoba tett,
a csapat nevOne# egys*erre mNs,
politi#ai &elentOse lett,
aan, ahol rabtartTi# neve henceg
TriNsi betU##el a fala#on,
7gy yor#shire$i bNnyNn a A(> S1 H7 ;7=
-a megfe&tQne# nem &Nr &utalomS/,
1.
( so# #irNlyi cMmer, al#ohol
re#lNm, villogT neon, falragas*
alatt tPrpO# e srNco# valahol,
WhW#ben a*t fV&&N# a falra, <(S^,
2Wsselorfban NtlNts*T gN*csPve#
[HJ:: nevOt #O# betU##el hireti#,
[aro# lenWlne#, a brit elitet
magasban tart&N# sunyi Wgyei#,
H(HH1S6% $ a* OpWlQ hN*a#on
e* Nll >eesben, &T vicc, a* On nevem,
>Nttam a )roawayen, #PnyvcMmlapon
a s*#in ne Mr&a nevOt le sosemI
2e mOrt fV&&N# le a sMr#Pve#etI
'iOrt e* a so# )J^1, =7;1I >Nm,
a mVlts*N*ai bNnyNs* <7[( lett,
a fUs*eresbQl meg H6H(2T ;1=d%G,
(* OlQ#et tNma&N# a s*#ine#,
nem a*Ort veri# fel a temetQ#et,
mert ott #eresne# ro#on s*ellemet,
e# is csa# el a#arnN# #apni Q#et,
)Nr tPbbnyire mun#anOl#Wlie#
e*e# a srNco#, mOgis, mOrt his*i#,
hogy a Lfe#aL, LcigNnyL, L*siTL
tehet arrTl, ha #evenc csapatu# ves*MtI
7* a* agress*ivitNs mit &elentI
( trNgNrsNgI ( holta#ra mitQl
sugNr*i# Nt iegengyUlPletI
aagy halNlfOlelem csa#I Cri.de.coeurI
1F
Mi van/ Mi a !as,t cri$e$coeur$0,0lI
*em tuds, 1gy #es,2lni$ ahogy any+dat hallottad$
csa3 3i#as,ott g0r0g4l/
5ugd !el a cri$e$coeurt$ ne verd a ny+lad6
L7lQs*Pr is, nem bes*Olt soha 7gyL
forultam WvPltve a hang felO,
,erinte a 3i#as,ott verseid
tr+g+r 2s 2rthetetlen ,agyval236
ZT volna e mOly aspirNciTval
hallani s*WleimOrt egy imNt,
hogy a*tNn s*eretet$ Os bO#eTha&
*eng&e be egOs* %agy )ritanniNt,
8spir+ci-$ a, 3ell$ #u,i +llat/
83ine3 s,ar#a tun3ol9+3 !e92t$
seg2lyen 2l$ mi a !as,t aspir+lhat/
:ogy mint a s,enet$ lap+tra tegy23)
L6#O, hagy&u#, %O*, &Tl tuom, a >ees
folyton ves*Mt s e* olyan lehetetlen,
bs hogy belWl a sPr is olgo*i#,
2e e* a so# aS 7llenS 7llenS 7llenSL
Megmondom$ mit;l p0ccene3 #e) :ogy
ott van a s7ron s,a3m+9u3 neve)
:entes$ 3ocsm+ros$ p23) <gy pat3olo3
el$ hogy #el;lem nem les, semmi se)
,4l2s3or any+m ma9dnem #e3rep+lt)
M2g a, is 9o##$ mint ha seg2lyre v+rs,)
19
Itt e, a #u,i #oltos$ 8ppleyard$
2s &ordsworth$ a s,+9#a31rt orgon+s6
*em a3aro3 tal+l3o,ni a menny#en
any+mmal$ !olyton his,ti,i3$
2s ,ent 3i#as,ott =2terne3 se ,engem$
hogy s,ar seg2lyen 2ltem Leeds#en itt)
8, angyalo3 3ara veri a ny+lat)
:a elpat3ol egy cs-r- 3is geci$
a s7r9+n mi a, isten!as,a +ll ma9d/
:ogy itt nyugs,i3 egy mun3an2l34li/
", itt Byron$ a cser,;varga s7r9a$
2s eg2s, 2let2#en volt mel-)
>0lt;$ e, les, a te s7rodra 7rva$
de a,$ segg!e9$ 3i#as,ott cs1nya s,-6
L[uss, hagy abba a fi#N*Nst, #PcsPgS
7*t a #Pnyvet a*Ort Mrom, teOrte,
hogy s*Tt #ap&ana# a* olyan pPcsP#,
mint te,L 8 30nyve3$ !as,!e9$ s,art se 2rne3)
LHogy megOrtessem, mi van amPgPtt,
ha pNr suhanc festO#s*TrTt raga
Os Pss*emN*ol&a a temetQt,L
>is !as,$ 3urv+ra ne !+ras,d magad)
L(*t pers*e nem tuo, te bui$mUvOs*,
hogy #i volt Himbau, e ne rNg maga,
)enne #PltQ Os s*#inhe egyesWlt Os
a* autre, a#i 9e est, fas*fe&, te vagy,L
Mondtam$ ne gyere ne3em a g0r0ggel$
4K
vagy s,2t les, r1gva$ !as,!e9$ a t030d)
>iny1vads, 2s 1gy s,edne3 0ss,e reggel6
*e hall9a3 itt m2g egys,er g0r0g0t6
Laolta# balhOim anna# ie&On
ne#em is, csa# pNrs*N* mOterre innen,L
Fogado3$ verset 7rt+l$ geci32m6
L)efogo mNr, vagy mi a #urva istenI
aalami #oncert volt itt, opera,
egy s*oprNn #ornyi#Nlt a s*Mnpaon,
bs a##or es*embe &utott, hogy a
tU*oltT$fecs#enQvel el#apom,
%emcsa# a* One#hang ho*ta elQ,
(mi#or s*TlNsra emel#eett
a* Nls*ent Hugh =aits#ell #OpviselQ,
egys*erre pfV&olt s tapsolt a tPmeg,
(hogy a nQ s*oprNn si#olyait
meghallottam, valami els*a#at,
1tt mNr soha semmi nem vNlto*i#,
>el#em s*Otfes*Mtette a harag,
bs vOget Ort =aits#ell s*Tno#lata
Os a* a s*oprNn gurgulN*va *engett
pont a* orrom elQtt, s ugyana* a
gyUlPlet nQtt bennem is, ami benne,
=yorsan elcsavartam a tU*csapot,
spricceltem minen#ire a vi*et,
bs futottam a*tNn, gonolhato,
7lmonta# minenfOle stricine#,,,L
41
5e a,t+n nem arra ment2l tov+##)
M2g hogy nem csa3 2tellel 2l a, em#er)))
Be+llt+l$ 9utalmad 3o3s,$ 9- pi+3$
2s pe,sg;.puncs a 3upagy;,elemmel)
?reg !as,i3 mes2li3$ hogy amit
ut+lt+l r2g$ a,,al m+r 9-l 3i90ss,)
Rendes !e9e3 e,e3 a v2n!as,i3)
5e 3i32s,7t a, ilyen h4lye p0cs)
Fele#ar+tun3 h+,+t ne 3iv+n9u3$
se n;92t$ mond9a a ,saru$ a pap)
%yer4n3$ +t+n$ r+ntsd le hamar gaty+9u3
2s verd ne3i3 lompos !ar3adat6
HN*assNgra gonoltam, s*erelemre,
amely valTi fOrfi$nQ vis*ony,
2e rNm se heerMtett, (*t #ereste
mNr, hol van a festO#s*TrT fla#on,
LHN*assNgra gonoltam, s*erelemre,L
8 mennyors,+g#a #as,va 9utni +t/
'intha On bu*Mtottam volna erre,
egy a$bQl gyorsan ra&*olt egy pinNt,
Te csa3 ne po!+,, arr-l$ mi legye36
:ogy a, os,t+lyom 32pvisel9em itt6
>urv+ra nem 3ellene3 sen3ine3
a, os,t+lyharc#an a s,ar verseid)
,opogass dra,s2t6 >ine3 3ellene
a te nagy32p@ versed/ Tudo3 2n
7rni$ eg2s, Leeds tele van vele6
A*IT"5 . itt van egy !as, s7r30v2n)
44
L6#OS -(*t hittem, vOgre megfogom mNr,/
Ha olyan bNtor vagy, leg#P*elebb,
a meccs utNn, ha pNr sPrt mNr benyomtNl
s nNla a spray, Mr alN a neveSL
aOgigmOrt megvetQn, lassan lehV*ta
a festO#pis*tolyrTl a #upa#ot
Os a J%1T72 alN oafV&ta
a nevOt, (* On nevem lNttam ott,
SrNco# harsog&N# a *+s,indul-t,
a fe&emre s*iromlevOl pereg,
<Ol Onem Ol, fele #ihalt, ahogy
a s*#in a sMrra fV&ta nevemet,
<Ol ellen fOl, ( s*Mv meg ne hasa&on,
ne hor&a magNban ellenfelOt,
<Plvettem egy fla#ont, >es*Nllt a* al#ony,
<Olig vilNgos Os fOlig sPtOt,
'it nem*etemne# #MvNntam, a s*T,
s s*Wleimne#, hogy egyesWl&ene#,
most ismOt csa# egy s*#inhe s*ur#olT
rOs*eg, vanNl sMrrongNlNsa lett,
( rOm&NrNs TrN&a #P*eleg,
Os nem nagyon s*eretnOm, hogy anyNm
s*ellemOvel #ell&en most Hamletet
&Nts*anom ennyi trNgNrsNg utNn,
%em siete#, bNr inul a vonat,
>ees megsWllyet sMr#Pvei #P*Ptt,
amit alant a holta# tartana#,
4D
be&Nrom a* elhagyott temetQt,
6tt lenn van a* a *eg*ugos Wreg,
melytQl Qlne# a sMr#ert #Pvei,
;sa# iQ #OrOse, s e*t a helyet
a la#Tival egyWtt elnyeli,
'on&u#, DK Ovem van hNtra mOg,
.@ Ovesen itt vOge*em,
( sMr nem i&es*t, csa# a* a sPtOt
lyu#, mely alatta tNtong oalenn,
aonatom inul$e, hiNba nO*e#
a* Tratoronyra, %em lNto# itt
mNst, csa# s*N*milliT Oves nPvOnye#
els*eneseett maravNnyait,
(* @ srNc fV&&a a %Ns*inulTt,
hull a s*irom, ahogy fNra lQne#
labN&u##al, <Nrahatatlano#,
peig egy nQi hang mNr hMv&a Q#et,
4 fiV menyass*ony Os vQlegOny,
D meg trallalN*, leesi Lohengrin,
>assan sPtOtsOg teleps*i# #PrOm,
'egye#, e nem les* viss*atOrni sem #Mn,
>Opele# itt a s*irom$s*Qnyegen,
a sPrPsobo*t, fla#ont, s*emetet,
els*Nrat nNrcis*t mOg Pss*es*eem,
a*tNn viss*a se nO*e#, elmegye#,
(* l$es bus* vis* mOg a* NllomNsig,
e Vtvonala nem a rOgi mNr,
4?
%O*em, a rOgi >eesbQl mOg mi lNts*i#
a nap vPrPslQ sugarainNl,
Ha*a, ha*a, ha*a a* ass*onyomho*,
a nap vOre mNr fe#etOre alva,
Ha*a, ha*a, ma& ass*onyom felolo*,
a* NgyNban talNlo# ma& nyugalmat,
TurbNnos Preg megy, #opog a bot&a,
s*amocNt ves*, aalaha itt a sPrt mOg
hitelbe atN#, ma a sar#i boltra
a* van #iMrva, hogy [asmMr [P*PssOg,
'inen hN* 7>(2f, 2e valaha
e*en a* utcNn &Nts*ottun# #ri#ettet
tU*hely$rostOlybQl #Os*Wlt #apura,
'ost minen hN*at Ls*Mnes bQrU WrgeL ves* meg,
s e* apNmtTl enyhe #ife&e*Os
volt mOg, minentQl fOlt, ami s*o#atlan,
egy arc, vagy ha lement sPrt venni Os
a curry s*agNt Ore*te a boltban,
S ahogy a so# #is W*let itt be*Nrt,
s Q gyengObb lett, e nQtt a tyV#s*eme,
egyre mess*ibb bolto#ba sNnti#Nlt,
hogy #evenc Oteleit megvegye,
'i#or a*tNn a hoss*V uta#at
heti nOgys*er #ellett megtennie,
Vgy gonolta, hogy annNl a vaca#
bab#on*ervnOl rNgNbb a* ie&e,
2e a bevNsNrlT#P*pont se volt &obb,
4@
mOlyfagyas*tott fOl bNrNnyaival,
( pult mPgPtt a lNny sosem mosolygott,
ha viccelni prTbNlt a vOn s*ivar,
'Og a trafi#ossal bes*Olgetett
$ heti aag $, ami#or cigarettNt
vNsNrolt, e enne# is vOge lett,
a* W*let iniai #O*be ment Nt,
7 bees*#N*ott abla#o# mPgPtt
*engtem, hogy LaOgtelen a* iQ #Vt&aL,
HNny OvmilliT telt, mMg lOtre&Ptt
a #Qs*On Os a #O*, mely iefV&ta
a metoista Os a* angli#Nn
templom falaira is, hogy )J^1[I
megos*tottN# a hMve#et, s ma lNm,
vOcOpapMrt #aps* a#ciTsan itt,
Ha*a, ass*onyomho*, viss*a se tOr&e#,
mMg hamvaimat nem s*Tr&N# ie
e rT*sabo#ro#na# tPvObe, vOgleg,
apNm$anyNm mellO a fPlbe le,
Ha*a, a* ass*onyomho*, ha*atOre#,
ahol hUvPs mN&usi este tU* Og,
Os a s*Onbe #PvWlt nPvOnyi Olet
a #WrtQn Nt els*P#i# #Ts*a fWst#Ont,
bs hallgat&u# a Lulut, s*tereo,
egy s*oprNn hang felsQ c$t One#el,
s #anallTn#ban DKK milliT
Oves pNfrNnyligete# Ogne# el,
46
(lban )erg felsQ $&e Os bri#etts*On
egy forrNs a neveel minahNny,
a* egyi#, hall&u#, pattog elenyOs*vOn,
a pNfrNnyliget, lNt&u#, rPp#e lNng,
TVlsNgosan so# ember Ol a fPlPn,
a hMraTban #is golyTbis, Vgy van,
pingpong$, tenis*$ Os focilaba s rPgtPn
a*tNn lPvOs a* _bPl$hNborVban,
HUl a hamu, s*Mne NtvNlt vPrPsre,
most megy a #OsQesti hMraT,
renQrP# s*trN&#olT##al csapna# Pss*e,
PrP# erQs*a# Os agress*iT,
'ost Jlster Os crors*Ng #Opei,
( tOr#Open #WlPnbP*Q s*ine#,
[is #oporsT, csa# #Ot ember vis*i,
hNtul Nlarcos, fegyveres menet,
7gy villanNs, a #OpernyQ sPtOt,
itt a s*erelem, Nlom ie&e,
>Ntom a s*Tt, s*Wleim sMr#PvOt,
Os tuom, mit 3ell &elentenie,
(hogy fela#as*tom #abNtomat,
a s*Qnyegre hull pNr fonnyat s*irom,
s egy rOgfeleett Or*Os fels*a#a,
rNn# is Mgy hullt s*irom egy mN&uson,
>ees$s*erte, mint #MsOrtet$&elenOs,
a *+s,indul- s*Tl minenfelQl,
'enyass*onyom s*obNmba be&Pn Os
me*telenWl a* olalamra Ql,
4.
Horgony a tNrs, a s*eretett,
ha hor*sol a vOr #PtelO#e, <(S^,
WvPlt egy hang, (* ilyen s*Pveget
nem bMr&a, 1smerem, a s*#inhe a*,
(lteregTm hallani sem a#ar&a,
s*TtNra nem ismeri, S^7H7T7T,
[PltQi s*T, J%1T72 Nll alatta,
nOv&egy, amit a s*#inhe oatett,
[Otlem, hogy DK fagyos leesi Qs*, tOl
s DK tavas*, nyNr rWgye, melege
eltUnteti, amit Pss*e#PtPttOl,
Te PntP el, a s*T ott mara$e,
S*N* Ov Os #utathats*, hogy megtalNl
a csalNi #Pve# #P*t sMromat,
:eig ott van a boltos, (ppleyar
mellett, a sPrPsobo*o# alatt,
6tt van )yron, nem mess*e Aorsworth,
)roabent, Hicharson balra volt,
2e ho**Nl magaal valami vegys*ert
hogy a trNgNr s*ava#at lepucol,
Ha #ifinomult Or*Oseiet
a* Ples )J^1 Os <(S^ sOrti #issO,
hNt va#ar le, e hagy meg, hogy J%1T72,
s mara&on ra&ta, #Orle#, a* a #is v,
=yQ*elemI (nna#, #i a* anyagot
teremtette, hogy lOle##O legyen,
2e va&on a fPl mOg meig forogI
4F
>es*$e a teste#bQl s*On oalennI
=yere #i egys*er egy mN&usi s*Op
reggelen, ami#or a* almafN#
Ngait hiNba rugal&a s*Ot
pNr #PlyP#, bQven van ra&ta virNg,
S ha lNto, vala#i a betW#et
bPngOs*ni #e*i, hogy #i van e sMrban
)eeston hegyolalNn, lOp& #P*elebb,
Os olvas fel e verset, magam Mrtam,
>0lt;t re9t e, a h+nya.m2ly g0d0r)
:a 37v+ncsi vagy$ hogy les, vers a B8R$
csa3 h1s 3ell ho,,+$ 3eny2r s pers,e s0r$
s,ere,d meg vers.dru33er$ s h1,, el hamar)
Dou"las Dunn
7res s2ekr8nyek
7gy ruhaboltban Wltem, igye#e*tem
;sillogni, mint egy if&V Os habT#
[Pvet, villogni, mint egy hgs a #Pnyvben,
'int egy films*tNr vagy s*Mnes csuapT#,
( ruha: m\fa&a a s*erelemne#,
TOvVtI [icsit, 2e g s*erette e*t,
%apo#, alOlt rachmanyinovi perce# "
StMlussal henyOlni, csMpni a #ellemest,
)arnNban hagyta el a prTbafWl#Ot,
;sinos gyWmPlcshMm*Oses blV*t viseltC
[PntPs #PntPsre, piros Vri #elmO# "
>ubic#olt, W*letass*ony#Ont fes*Mtett,
49
^Plet vNlas*tott, ( hN*ban talNlta,
1tt a gPnchalma*ban, ( gombolyag,
'us*lin*sN#o#ban: egy emlO#$salNta,
%yitogato# elmVlt illato#at,
2e a* a nap, :Nri*sban, fN& ma is mOg,
(##or pTri fOr&#Ont montam nemet,
'in mustrNlta a vNllfN# vOgtelen&Ot "
'a O&&el is gyPtPr a &elenet,
'ost a s*abT a fN&alom, a gyNs*ban
<Orcelg varrTng a fN&alom, "
=yNs*ol a* Olet Wnnepi$*ilNltan,,,
HuhNim, monta, s*Otos*togatom,
DK