is not of the substance of elements.
It is an organism, indivisibly
by elementary objects of a divergent character:
were to attempt division, these parts
for instance: an entire dramatic company.
Enter an ancestor, prophetic;
enter a hero, brutal
a rake, alcoholic, to argue
with a learned professor.
A lyrical beauty, rolling her eyes
heavenward, a case
of chronic infatuation --
enter a heavy father,
to take care of that.
enter a liberal uncle -- to arbitrate. . . .
Aunt Chatterbox gossiping in a corner.
Chambermaid Lewdie, giggling.
And I, watching it all,
astonishment in my eyes.
Poised, in my left hand
a sharpened pencil.
A pregnant woman!, a mother
her entrance --
don't belong here
Some Poems by Paul Klee
(Translated by Anselm Hollo)
Paul Klee (1879-1940)
The Twittering Machine
Watercolor, pen and ink over oil drawing,
41.3 X 30.5 cm
The Museum of Modern Art, New York
Karen V. Maur,
The Sound of Painting:
Music in Modern Art: Painters have always been intrigued by music, its incorporeality,
its sovereign independence of the visible and tangible, and its freedom from the
obligation to imitate nature that for centuries was felt to be binding on European art.
While poetry, too, despite its higher degree of abstraction, remained tied to the concrete
and nameable, music was able to unfold in a free realm delimited only by the rules of
tonal harmony derived from its intrinsic means.