Had I the heavens' embroidered cloths,
Enwrought with golden and silver light,
The blue and the dim and the dark cloths
Of night and light and the half-light,
I would spread the cloths under your feet:
But I being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams.
--William Butler Yeats
Showing posts with label poem. Show all posts
Showing posts with label poem. Show all posts
Wednesday, March 21, 2012
Sunday, February 26, 2012
Sonnets 04: Only Until This Cigarette Is Ended
Only until this cigarette is ended,
A little moment at the end of all,
While on the floor the quiet ashes fall,
And in the firelight to a lance extended,
Bizarrely with the jazzing music blended,
The broken shadow dances on the wall,
I will permit my memory to recall
The vision of you, by all my dreams attended.
And then adieu,—farewell!—the dream is done.
Yours is a face of which I can forget
The color and the features, every one,
The words not ever, and the smiles not yet;
But in your day this moment is the sun
Upon a hill, after the sun has set.
--Edna St. Vincent Millay
A little moment at the end of all,
While on the floor the quiet ashes fall,
And in the firelight to a lance extended,
Bizarrely with the jazzing music blended,
The broken shadow dances on the wall,
I will permit my memory to recall
The vision of you, by all my dreams attended.
And then adieu,—farewell!—the dream is done.
Yours is a face of which I can forget
The color and the features, every one,
The words not ever, and the smiles not yet;
But in your day this moment is the sun
Upon a hill, after the sun has set.
--Edna St. Vincent Millay
God's Grandeur
The world is charged with the grandeur of God.
It will flame out, like shining from shook foil;
It gathers to a greatness, like the ooze of oil
Crushed. Why do men then now not reck his rod?
Generations have trod, have trod, have trod;
And all is seared with trade; bleared, smeared with toil;
And wears man's smudge and shares man's smell: the soil
Is bare now, nor can foot feel, being shod.
And for all this, nature is never spent;
There lives the dearest freshness deep down things;
And though the last lights off the black West went
Oh, morning, at the brown brink eastward, springs —
Because the Holy Ghost over the bent
World broods with warm breast and with ah! bright wings.
--Gerard Manly Hopkins
Sunday, January 29, 2012
if you like my poems let them
if you like my poems let them
walk in the evening,a little behind you
then people will say
"Along this road i saw a princess pass
on her way to meet her lover(it was
toward nightfall)with tall and ignorant servants."
-e.e. cummings
Monday, January 16, 2012
In the Hush of Winter
Today being a cold, wintry day, I feel it appropriate to share Robert Frost's "Reluctance."
Out through the fields and the woods
And over the walls I have wended;
I have climbed the hills of view
And looked at the world, and descended;
I have come by the highway home,
And lo, it is ended.
The leaves are all dead on the ground,
Save those that the oak is keeping
To ravel them one by one
And let them go scraping and creeping
Out over the crusted snow,
When others are sleeping.
And the dead leaves lie huddled and still,
No longer blown hither and thither;
The last lone aster is gone;
The flowers of the witch hazel wither;
The heart is still aching to seek,
But the feet question "Whither?"
Ah, when to the heart of man
Was it ever less than a treason
To go with the drift of things,
To yield with a grace to reason,
And bow and accept the end
Of a love or a season?
Sunday, January 1, 2012
Whence the Name
Tuesday, June 4, 1991 by Billy Collins
By the time I get myself out of bed, my wife has left
the house to take her botany final and the painter
has arrived in his van and is already painting
the columns of the front porch white and decking gray.
It is early June, a breezy and sun-riddled Tuesday
that would quickly be forgotten were it not for my
writing these few things down as I sit here empty-headed
at the typewriter with a cup of coffee, light and sweet.
I feel like the secretary to the morning whose only
responsibility is to take down its bright, airy dictation
until it's time to go to lunch with the other girls,
all of us ordering the cottage cheese with half a pear.
This is what stenographers do in courtrooms, too,
alert at their miniature machines taking down every word.
When there is a silence they sit still as I do, waiting
and listening, fingers resting lightly on the keys.
This is also what Samuel Pepys did, jotting down in
private ciphers minor events that would have otherwise
slipped into the dark amnesiac waters of the Thames.
His vigilance finally paid off when London caught fire
as mine does when the painter comes in for coffee
and says how much he likes this slow vocal rendition
of "You Don't Know What Love Is" and I figure I will
make him a tape when he goes back to his brushes and pails.
Under the music I can hear the rush of cars and trucks
on the highway and every so often the new kitten, Felix,
hops into my lap and watches my fingers drumming out
a running record of this particular June Tuesday
as it unrolls before my eyes, a long intricate carpet
that I am walking on slowly with my head bowed
knowing that it is leading me to the quiet shrine
of the afternoon and the melancholy candles of evening.
If I look up, I see out the window the white stars
of clematis climbing a ladder of strings, a woodpile,
a stack of faded bricks, a small green garden of herbs,
things you would expect to find outside a window,
all written down now and placed in the setting
of a stanza as unalterably as they are seated
in their chairs in the ontological rooms of the world.
Yes, this is the kind of job I could succeed in,
an unpaid but contented amanuensis whose hands
are two birds fluttering on the lettered keys,
whose eyes see sunlight splashing thought the leaves,
and the bright pink asterisks of honeysuckle
and the piano at the other end of this room with
its small vase of faded flowers and its empty bench.
So convinced am I that I have found my vocation,
tomorrow I will begin my chronicling earlier, at dawn,
a time when hangmen and farmers are up and doing,
when men holding pistols stand in a field back to back.
It is the time the ancients imagined in robes, as Eos
or Aurora, who would leave her sleeping husband in bed,
not to take her botany final, but to pull the sun,
her brother, over the horizon's brilliant rim,
her four-house chariot aimed at the zenith of the sky.
But tomorrow, dawn will come the way I picture her,
barefoot and disheveled, standing outside my window
in one of the fragile cotton dresses of the poor.
She will look in at me with her thin arms extended,
offering a handful of birdsong and a small cup of light.
By the time I get myself out of bed, my wife has left
the house to take her botany final and the painter
has arrived in his van and is already painting
the columns of the front porch white and decking gray.
It is early June, a breezy and sun-riddled Tuesday
that would quickly be forgotten were it not for my
writing these few things down as I sit here empty-headed
at the typewriter with a cup of coffee, light and sweet.
I feel like the secretary to the morning whose only
responsibility is to take down its bright, airy dictation
until it's time to go to lunch with the other girls,
all of us ordering the cottage cheese with half a pear.
This is what stenographers do in courtrooms, too,
alert at their miniature machines taking down every word.
When there is a silence they sit still as I do, waiting
and listening, fingers resting lightly on the keys.
This is also what Samuel Pepys did, jotting down in
private ciphers minor events that would have otherwise
slipped into the dark amnesiac waters of the Thames.
His vigilance finally paid off when London caught fire
as mine does when the painter comes in for coffee
and says how much he likes this slow vocal rendition
of "You Don't Know What Love Is" and I figure I will
make him a tape when he goes back to his brushes and pails.
Under the music I can hear the rush of cars and trucks
on the highway and every so often the new kitten, Felix,
hops into my lap and watches my fingers drumming out
a running record of this particular June Tuesday
as it unrolls before my eyes, a long intricate carpet
that I am walking on slowly with my head bowed
knowing that it is leading me to the quiet shrine
of the afternoon and the melancholy candles of evening.
If I look up, I see out the window the white stars
of clematis climbing a ladder of strings, a woodpile,
a stack of faded bricks, a small green garden of herbs,
things you would expect to find outside a window,
all written down now and placed in the setting
of a stanza as unalterably as they are seated
in their chairs in the ontological rooms of the world.
Yes, this is the kind of job I could succeed in,
an unpaid but contented amanuensis whose hands
are two birds fluttering on the lettered keys,
whose eyes see sunlight splashing thought the leaves,
and the bright pink asterisks of honeysuckle
and the piano at the other end of this room with
its small vase of faded flowers and its empty bench.
So convinced am I that I have found my vocation,
tomorrow I will begin my chronicling earlier, at dawn,
a time when hangmen and farmers are up and doing,
when men holding pistols stand in a field back to back.
It is the time the ancients imagined in robes, as Eos
or Aurora, who would leave her sleeping husband in bed,
not to take her botany final, but to pull the sun,
her brother, over the horizon's brilliant rim,
her four-house chariot aimed at the zenith of the sky.
But tomorrow, dawn will come the way I picture her,
barefoot and disheveled, standing outside my window
in one of the fragile cotton dresses of the poor.
She will look in at me with her thin arms extended,
offering a handful of birdsong and a small cup of light.
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