Good Poems
Good Poems 1
Archibald MacLeish (1892 – 1982) 3
Ars Poetica 3
Czeslow Milosz (1911 – 2004) 3
Ars Poetica 3
Gary Snyder 4
How Poetry Comes to Me 4
W. H. Auden (1907 – 1973) 4
In Memory of W.B. Yeats d. Jan. 1939 4
William Butler Yeats (1865-1939) 6
The Folly Of Being Comforted 6
When You Are Old 6
The Sorrow of Love 6
Thomas Hardy (1840 – 1928) 6
The Voice 6
I Said to Love 7
We Sat at The Window 7
Seamus Heaney (1939-) 8
Digging 8
W. H. Auden 9
Lullaby 9
Song IX 9
E. E. Cummings 10
beyond 10
Wilfred Owen (1893 – 1918) 10
Anthem for Doomed Youth 10
Futility 10
Seamus Heaney 11
Casualty 11
Personal Helicon 13
The Tollund Man 13
The Harvest Bow 14
The Skunk 15
Punishment 15
From The Frontier Of Writing 16
R. S. Thomas 17
A Peasant 17
Robert Frost 17
Tree at my Window 17
D. H. Lawrence 18
Trees in the Garden 18
William Carlos Williams 18
Spring and All 18
Philip Larkin 19
The Trees 19
Ted Hughes: 19
Hawk Roosting 19
Sylvia Plath 20
The Beekeeper's Daughter 20
Winter Trees 21
Child 21
Mad Girl's Love Song 21
Prologue to Spring 22
The Moon and the Yew Tree 23
Edge 23
Lady Lazarus 24
Gary Snyder 26
For All 26
I pledge allegiance 26
On Top 27
Hay for the Horses 27
Smokey the Bear Sutra 27
Zbigniew Herbert 29
Pebble 29
Thomas Hardy 30
The Oxen 30
T. S. Elliot 30
From: East Coker (Four Quartets) 30
R. S. Thomas (1913 – 2000) 31
The Coming 31
Praise 31
Here 32
Geoffrey Hill (1932 - ) 33
Psalms of Assize VI 33
T S Eliot (1888-1965) 33
From: The Love Song of J Alfred Prufrock 33
Allen Ginsberg (1926-1997) 34
From: Howl 34
William Butler Yeats 36
The Lake Isle of Innisfree 36
Thomas Hardy (1840-1928) 37
The Darkling Thrush 37
Robert Frost (1874 – 1963) 38
The Road not Taken 38
Stopping by Woods on a Snowy Evening 38
Archibald MacLeish (1892 – 1982)
Ars Poetica
A poem should be palpable and mute
As a globed fruit,
Dumb
As old medallions to the thumb,
Silent as the sleeve-worn stone
Of casement ledges where the moss has grown--
A poem should be wordless
As the flight of birds.
*
A poem should be motionless in time
As the moon climbs,
Leaving, as the moon releases
Twig by twig the night-entangled trees,
Leaving, as the moon behind the winter leaves,
Memory by memory the mind--
A poem should be motionless in time
As the moon climbs.
*
A poem should be equal to:
Not true.
For all the history of grief
An empty doorway and a maple leaf.
For love
The leaning grasses and two lights above the sea--
A poem should not mean
But be.
Czeslow Milosz (1911 – 2004)
Ars Poetica
I have always aspired to a more spacious form
that would be free from the claims of poetry or prose
and would let us understand each other without exposing
the author or reader to sublime agonies.
In the very essence of poetry there is something indecent:
a thing is brought forth which we didn't know we had in us,
so we blink our eyes, as if a tiger had sprung out
and stood in the light, lashing his tail.
That's why poetry is rightly said to be dictated by a daimonion,
though it's an exaggeration to maintain that he must be an angel.
It's hard to guess where that pride of poets comes from,
when so often they're put to shame by the disclosure of their frailty.
What reasonable man would like to be a city of demons,
who behave as if they were at home, speak in many tongues,
and who, not satisfied with stealing his lips or hand,
work at changing his destiny for their convenience?
It's true that what is morbid is highly valued today,
and so you may think that I am only joking
or that I've devised just one more means
of praising Art with the help of irony.
There was a time when only wise books were read,
helping us to bear our pain and misery.
This, after all, is not quite the same
as leafing through a thousand works fresh from psychiatric clinics.
And yet the world is different from what it seems to be
and we are other than how we see ourselves in our ravings.
People therefore preserve silent integrity,
thus earning the respect of their relatives and neighbors.
The purpose of poetry is to remind us
how difficult it is to remain just one person,
for our house is open, there are no keys in the doors,
and invisible guests come in and out at will.
What I'm saying here is not, I agree, poetry,
as poems should be written rarely and reluctantly,
under unbearable duress and only with the hope
that good spirits, not evil ones, choose us for their instrument.
Gary Snyder
How Poetry Comes to Me
It comes blundering over the
Boulders at night, it stays
Frightened outside the
Range of my campfire
I go to meet it at the
Edge of the light
W. H. Auden (1907 – 1973)
In Memory of W.B. Yeats d. Jan. 1939
I
He disappeared in the dead of winter:
The brooks were frozen, the airports almost deserted,
The snow disfigured the public statues;
The mercury sank in the mouth of the dying day.
What instruments we have agree
The day of his death was a dark cold day.
Far from his illness
The wolves ran on through the evergreen forests,
The peasant river was untempted by the fashionable quays;
By mourning tongues
The death of the poet was kept from his poems.
But for him it was his last afternoon as himself,
An afternoon of nurses and rumours;
The provinces of his body revolted,
The squares of his mind were empty,
Silence invaded the suburbs,
The current of his feeling failed; he became his admirers.
Now he is scattered among a hundred cities
And wholly given over to unfamiliar affections,
To find his happiness in another kind of wood
And be punished under a foreign code of conscience.
The words of a dead man
Are modified in the guts of the living.
But in the importance and noise of to-morrow
When the brokers are roaring like beasts on the floor of the Bourse,
And the poor have the sufferings to which they are fairly accustomed,
And each in the cell of himself is almost convinced of his freedom,
A few thousand will think of this day
As one thinks of a day when one did something slightly unusual.
What instruments we have agree
The day of his death was a dark cold day.
II
You were silly like us; your gift survived it all:
The parish of rich women, physical decay,
Yourself. Mad Ireland hurt you into poetry.
Now Ireland has her madness and her weather still,
For poetry makes nothing happen: it survives
In the valley of its making where executives
Would never want to tamper, flows on south
From ranches of isolation and the busy griefs,
Raw towns that we believe and die in; it survives,
A way of happening, a mouth.
III
Earth, receive an honoured guest:
William Yeats is laid to rest.
Let the Irish vessel lie
Emptied of its poetry.
Intellectual disgrace
Stares from every human face,
And the seas of pity lie
Locked and frozen in each eye.
Follow, poet, follow right
To the bottom of the night,
With your unconstraining voice
Still persuade us to rejoice.
With the farming of a verse
Make a vineyard of the curse,
Sing of human unsuccess
In a rapture of distress.
In the deserts of the heart
Let the healing fountains start,
In the prison of his days
Teach the free man how to praise.
William Butler Yeats (1865-1939)
The Folly Of Being Comforted
One that is ever kind said yesterday
'Your well-beloved's hair has threads of grey,
And little shadows come about her eyes;
Time can but make it easier to be wise
Though now it seems impossible, and so
Patience is all that you have need of.' No,
I have not a crumb of comfort, not a grain;
Time can but make her beauty over again;
Because of that great nobleness of hers
The fire that stirs about her, when she stirs
Burns but more clearly. O she had not these ways,
When all the wild summer was in her gaze.
O heart! O heart! if she'd but turn her head,
You'd know the folly of being comforted.
When You Are Old
When you are old and grey and full of sleep,
And nodding by the fire, take down this book,
And slowly read, and dream of the soft look
Your eyes had once, and of their shadows deep;
How many loved your moments of glad grace,
And loved your beauty with love false or true,
But one man loved the pilgrim soul in you,
And loved the sorrows of your changing face;
And bending down beside the glowing bars,
Murmur, a little sadly, how Love fled
And paced upon the mountains overhead
And hid his face amid a crowd of stars.
The Sorrow of Love
The quarrel of the sparrow in the eaves,
The full round moon and the star-laden sky,
And the loud song of the ever-singing leaves,
Had hid away earth's old and weary cry.
And then you came with those red mournful lips,
And with you came the whole of the world's tears,
And all the sorrows of her labouring ships,
And all the burden of her myriad years.
And now the sparrows warring in the eaves,
The curd-pale moon, the white stars in the sky,
And the loud chaunting of the unquiet leaves,
Are shaken with earth's old and weary cry.
Thomas Hardy (1840 – 1928)
The Voice
Woman much missed, how you call to me, call to me,
Saying that now you are not as you were
When you had changed from the one who was all to me,
But as at first, when our day was fair.
Can it be you that I hear? Let me view you, then,
Standing as when I drew near to the town
Where you would wait for me: yes, as I knew you then,
Even to the original air-blue gown!
Or is it only the breeze, in its listlessness
Travelling across the wet mead1 to me here,
You being ever dissolved to wan wistlessness,
Heard no more again far or near?
Thus I; faltering forward,
Leaves around me falling,
Wind oozing thin through the thorn from norward,
And the woman calling.
I Said to Love
I said to Love,
"It is not now as in old days
When men adored thee and thy ways
All else above;
Named thee the Boy, the Bright, the One
Who spread a heaven beneath the sun,"
I said to Love.
I said to him,
"We now know more of thee than then;
We were but weak in judgment when,
With hearts abrim,
We clamoured thee that thou would'st please
Inflict on us thine agonies,"
I said to him.
I said to Love,
"Thou art not young, thou art not fair,
No faery darts, no cherub air,
Nor swan, nor dove
Are thine; but features pitiless,
And iron daggers of distress,"
I said to Love.
"Depart then, Love! . . .
- Man's race shall end, dost threaten thou?
The age to come the man of now
Know nothing of? -
We fear not such a threat from thee;
We are too old in apathy!
Mankind shall cease.--So let it be,"
I said to Love.
We Sat at The Window
We sat at the window looking out,
And the rain came down like silken strings
That Swithin's day. Each gutter and spout
Babbled unchecked in the busy way
Of witless things:
Nothing to read, nothing to see
Seemed in that room for her and me
On Swithin's day.
We were irked by the scene, by our own selves; yes,
For I did not know, nor did she infer
How much there was to read and guess
By her in me, and to see and crown
By me in her.
Wasted were two souls in their prime,
And great was the waste, that July time
When the rain came down.
Seamus Heaney (1939-)
Digging
Between my finger and my thumb
The squat pen rests; as snug as a gun.
Under my window a clean rasping sound
When the spade sinks into gravelly ground:
My father, digging. I look down
Till his straining rump among the flowerbeds
Bends low, comes up twenty years away
Stooping in rhythm through potato drills
Where he was digging.
The coarse boot nestled on the lug, the shaft
Against the inside knee was levered firmly.
He rooted out tall tops, buried the bright edge deep
To scatter new potatoes that we picked
Loving their cool hardness in our hands.
By God, the old man could handle a spade,
Just like his old man.
My grandfather could cut more turf in a day
Than any other man on Toner's bog.
Once I carried him milk in a bottle
Corked sloppily with paper. He straightened up
To drink it, then fell to right away
Nicking and slicing neatly, heaving sods
Over his shoulder, digging down and down
For the good turf. Digging.
The cold smell of potato mold, the squelch and slap
Of soggy peat, the curt cuts of an edge
Through living roots awaken in my head.
But I've no spade to follow men like them.
Between my finger and my thumb
The squat pen rests.
I'll dig with it.
W. H. Auden
Lullaby
Lay your sleeping head, my love,
Human on my faithless arm:
Time and fevers burn away
Individual beauty from
Thoughtful children, and the grave
Proves the child ephemeral:
But in my arms till break of day
Let the living creature lie,
Mortal, guilty, but to me
The entirely beautiful.
Soul and body have no bounds:
To lovers as they lie upon
Her tolerant enchanted slope
In their ordinary swoon,
Grave the vision Venus sends
Of supernatural sympathy,
Universal love and hope;
While an abstract insight wakes
Among the glaciers and the rocks
The hermit's carnal ecstacy,
Certainty, fidelity
On the stroke of midnight pass
Like vibrations of a bell
And fashionable madmen raise
Their pedantic boring cry:
Every farthing of the cost.
All the dreaded cards foretell.
Shall be paid, but from this night
Not a whisper, not a thought.
Not a kiss nor look be lost.
Beauty, midnight, vision dies:
Let the winds of dawn that blow
Softly round your dreaming head
Such a day of welcome show
Eye and knocking heart may bless,
Find our mortal world enough;
Noons of dryness find you fed
By the involuntary powers,
Nights of insult let you pass
Watched by every human love.
Song IX
Stop all the clocks, cut off the telephone.
Prevent the dog from barking with a juicy bone.
Silence the pianos and with muffled drum
Bring out the coffin, let the mourners come.
Let aeroplanes circle moaning overhead
Scribbling on the sky the message He Is Dead.
Put crape bows round the white necks of the public doves,
Let the traffic policemen wear black cotton gloves.
He was my North, my South, my East and West,
My working week and my Sunday rest,
My noon, my midnight, my talk, my song;
I thought that love would last forever: I was wrong.
The stars are not wanted now: put out every one;