Pachelbel’s Canon


by Richard Greene

Is there a word for the fading of a note

as it leaves the string and nothing follows?

Their lives, like the last lifting of the bow,

reach towards a silence that completes them.

These aged, accomplished women taught

music, algebra, art, grammar, latin

to Catholic girls who came for polish

to this school, now two lifetimes old.

Tonight, the last concert before the doors

close, they sit quietly on stacking chairs

in the low-ceilinged auditorium,

listening to choir after choir singing

brilliantly, voices added to memory.

My daughter's school for one year, I know it

only by what I see this night, the photographs

of long-skirted athletes smiling towards

a now-unfolded future and of girls

holding violins and cellos in sepia,

tuning the long strings of the century.

The heavy oak of stairs and railings

and the fortifying stone speak of some

intended permanence that has had its day.

How certain the enterprise of Irish

faith to bring a city of sailors to God

through its daughters, lift the reprobate town

by their music, books, piety, beat down

sin by corporal means, the corrective

leather to make virtue and a good accent.

In time, something in them opened to the world,

their grammars grew sensitive to plurals,

odd conjugations, things outside the rule.

The years softened discipline: the tyrant

nun at twenty learned tolerance by sixty

in a world of back-answers and short skirts,

too late, perhaps, to temper satirists

recycling schtick through T.V.'s middle age.

Fifty or sixty years of the cloister

have taught the nuns a quietness that holds

before the students, and there are no tears,

but all their lives they loved in the work

and now their loss is likewise given

to the air in this evening's sense of things

done well to the last, apt valediction.

For them, love was always a deference

to the good, and tonight the orchestra

of strings pours out Pachelbel's Canon,

the achievement of these women's lives worked out

by bows lightly drawn across instruments

in the hands of girls who barely fathom

what sorrow is in the perfect thing they make

or what trust in the silence that follows.

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