No More Learning

The brook was thrown
Deep in a sewer dungeon under stone
In fetid darkness still to live and run--
And all for nothing it had ever done
Except forget to go in fear perhaps.
No one would know except for ancient maps
That such a brook ran water. But I wonder
If, from its being kept forever under,
These thoughts may not have risen that so keep
This new-built city from both work and sleep.




DESIGN


I found a dimpled spider, fat and white,
On a white heal-all, holding up a moth
Like a white piece of rigid satin cloth--
Assorted characters of death and blight
Mixed ready to begin the morning right,
Like the ingredients of a witches' broth--
A snow-drop spider, a flower like froth,
And dead wings carried like a paper kite.

What had that flower to do with being white,
The wayside blue and innocent heal-all?
What brought the kindred spider to that height,
Then steered the white moth thither in the night?
What but design of darkness to appal? --
If design govern in a thing so small.




CARL SANDBURG




AND SO TO-DAY


And so to-day--they lay him away--
the boy nobody knows the name of--
the buck private--the unknown soldier--
the doughboy who dug under and died
when they told him to--that's him.

Down Pennsylvania Avenue to-day the riders go,
men and boys riding horses, roses in their teeth,
stems of roses, rose leaf stalks, rose dark leaves--
the line of the green ends in a red rose flash.

Skeleton men and boys riding skeleton horses,
the rib bones shine, the rib bones curve,
shine with savage, elegant curves--
a jawbone runs with a long white slant,
a skull dome runs with a long white arch,
bone triangles click and rattle,
elbows, ankles, white line slants--
shining in the sun, past the White House,
past the Treasury Building, Army and Navy Buildings,
on to the mystic white Capitol Dome--
so they go down Pennsylvania Avenue to-day,
skeleton men and boys riding skeleton horses,
stems of roses in their teeth,
rose dark leaves at their white jaw slants--
and a horse laugh question nickers and whinnies,
moans with a whistle out of horse head teeth:
why? who? where?

("The big fish--eat the little fish--
the little fish--eat the shrimps--
and the shrimps--eat mud,"--
said a cadaverous man--with a black umbrella--
spotted with white polka dots--with a missing
ear--with a missing foot and arms--
with a missing sheath of muscles
singing to the silver sashes of the sun. )

And so to-day--they lay him away--
the boy nobody knows the name of--
the buck private--the unknown soldier--
the doughboy who dug under and died
when they told him to--that's him.
If he picked himself and said, "I am ready to die,"
if he gave his name and said, "My country, take me,"
then the baskets of roses to-day are for the Boy,
the flowers, the songs, the steamboat whistles,
the proclamations of the honorable orators,
they are all for the Boy--that's him.

If the government of the Republic picked him saying,
"You are wanted, your country takes you"--
if the Republic put a stethoscope to his heart
and looked at his teeth and tested his eyes and said,
"You are a citizen of the Republic and a sound
animal in all parts and functions--the Republic takes you"--
then to-day the baskets of flowers are all for the Republic,
the roses, the songs, the steamboat whistles,
the proclamations of the honorable orators--
they are all for the Republic.

And so to-day--they lay him away--
and an understanding goes--his long sleep shall be
under arms and arches near the Capitol Dome--
there is an authorization--he shall have tomb companions--
the martyred presidents of the Republic--
the buck private--the unknown soldier--that's him.

The man who was war commander of the armies of the Republic
rides down Pennsylvania Avenue--
The man who is peace commander of the armies of the Republic
rides down Pennsylvania Avenue--
for the sake of the Boy, for the sake of the Republic.

(And the hoofs of the skeleton horses
all drum soft on the asphalt footing--
so soft is the drumming, so soft the roll call
of the grinning sergeants calling the roll call--
so soft is it all--a camera man murmurs, "Moonshine. ")

Look--who salutes the coffin--
lays a wreath of remembrance
on the box where a buck private
sleeps a clean dry sleep at last--
look--it is the highest ranking general
of the officers of the armies of the Republic.

(Among pigeon corners of the Congressional Library--they
file documents quietly, casually, all in a day's work--
this human document, the buck private nobody knows the
name of--they file away in granite and steel--with music
and roses, salutes, proclamations of the honorable
orators. )

Across the country, between two ocean shore lines,
where cities cling to rail and water routes,
there people and horses stop in their foot tracks,
cars and wagons stop in their wheel tracks--
faces at street crossings shine with a silence
of eggs laid in a row on a pantry shelf--
among the ways and paths of the flow of the Republic
faces come to a standstill, sixty clockticks count--
in the name of the Boy, in the name of the Republic.

(A million faces a thousand miles from Pennsylvania Avenue
stay frozen with a look, a clocktick, a moment--
skeleton riders on skeleton horses--the nickering high horse
laugh,
the whinny and the howl up Pennsylvania Avenue:
who? why? where? )

(So people far from the asphalt footing of Pennsylvania
Avenue look, wonder, mumble--the riding white-jaw
phantoms ride hi-eeee, hi-eeee, hi-yi, hi-yi, hi-eeee--
the proclamations of the honorable orators mix with the
top-sergeants whistling the roll call. )

If when the clockticks counted sixty,
when the heartbeats of the Republic
came to a stop for a minute,
if the Boy had happened to sit up,
happening to sit up as Lazarus sat up, in the story,
then the first shivering language to drip off his mouth
might have come as, "Thank God," or "Am I dreaming? "
or "What the hell" or "When do we eat? "
or "Kill 'em, kill 'em, the. .