We contemplate
the violin again –
its onerous familiar
impasse and sadistically
seductive lure: it lies,
un-reassured,
upon the couch, all
involuted curve and line,
as if it were a verb
whose animating spine
was inaccessible to
any lexicon or grammar
to which I, today, at any rate,
would seem to be inclined.
I’d like to take a hammer –
and – well, no.
Instead, we’ll contemplate
the bow. Tonight I am
to lead a section
of first violins
in Mozart: bounce
and sway – allay
all fear: let jaunty
little flicks and shoots
and arabesques
befriend a guest conductor’s
hopeful ear. Oh dear.
the violin again –
its onerous familiar
impasse and sadistically
seductive lure: it lies,
un-reassured,
upon the couch, all
involuted curve and line,
as if it were a verb
whose animating spine
was inaccessible to
any lexicon or grammar
to which I, today, at any rate,
would seem to be inclined.
I’d like to take a hammer –
and – well, no.
Instead, we’ll contemplate
the bow. Tonight I am
to lead a section
of first violins
in Mozart: bounce
and sway – allay
all fear: let jaunty
little flicks and shoots
and arabesques
befriend a guest conductor’s
hopeful ear. Oh dear.
.
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