Sonnet 18
BY WILLIAM SHAKESPEARE
Shall I compare thee to a summer’s day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date;
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance or nature’s changing course untrimm'd;
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow’st;
Nor shall death brag thou wander’st in his shade,
When in eternal lines to time thou grow’st:
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.
Sonnet 65
BY WILLIAM SHAKESPEARE
Since brass, nor stone, nor earth, nor boundless sea
But sad mortality o’er-sways their power,
How with this rage shall beauty hold a plea,
Whose action is no stronger than a flower?
O, how shall summer’s honey breath hold out
Against the wrackful siege of batt’ring days,
When rocks impregnable are not so stout,
Nor gates of steel so strong, but time decays?
O fearful meditation! where, alack,
Shall time’s best jewel from time’s chest lie hid?
Or what strong hand can hold his swift foot back?
Or who his spoil of beauty can forbid?
O, none, unless this miracle have might,
That in black ink my love may still shine bright.
Sonnet 116
BY WILLIAM SHAKESPEARE
Let me not to the marriage of true minds
Admit impediments; love is not love
Which alters when it alteration finds,
Or bends with the remover to remove.
O no, it is an ever-fixèd mark
That looks on tempests and is never shaken;
It is the star to every wand'ring bark
Whose worth's unknown, although his height be taken.
Love's not time's fool, though rosy lips and cheeks
Within his bending sickle's compass come.
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom:
If this be error and upon me proved,
I never writ, nor no man ever loved.
Auguries of Innocence
BY WILLIAM BLAKE
To see a world in a grain of sand
And a heaven in a wild flower,
Hold infinity in the palm of your hand
And eternity in an hour.
A robin redbreast in a cage
Puts all Heaven in a rage.
A dove house fill'd with doves and pigeons
Shudders Hell thro' all its regions.
A dog starv'd at his master's gate
Predicts the ruin of the state.
A horse misus'd upon the road
Calls to Heaven for human blood.
Each outcry of the hunted hare
A fibre from the brain does tear.
A skylark wounded in the wing,
A Cherubim does cease to sing.
The game cock clipp'd and arm'd for fight
Does the rising Sun affright.
Every wolf's and lion's howl
Raises from Hell a human soul.
...
He who respects the infant's faith
Triumphs over Hell and Death.
The child's toys and the old man's reasons
Are the fruits of the two seasons.
The questioner, who sits so sly,
Shall never know how to reply.
He who replies to words of doubt
Doth put the light of Knowledge out.
The strongest poison ever known
Came from Caesar's laurel crown,
Nought can deform the human race
Like to the armour's iron brace.
When gold and gems adorn the plow
To peaceful arts shall Envy bow.
A riddle or the cricket's cry
Is to doubt a fit reply.
The emmet's inch and eagle's mile
Make lame Philosophy to smile.
He who doubts from what he sees
Will ne'er believe, do what you please.
If the Sun and Moon should doubt,
They'd immediately go out.
To be in a passion you good may do,
But no good if a passion is in you.
The whore and gambler, by the state
Licens'd, build that nation's fate.
The harlot's cry from street to street,
Shall weave Old England's winding sheet.
The winner's shout, the loser's curse,
Dance before dead England's hearse.
Every night and every morn
Some to misery are born.
Every morn and every night
Some are born to sweet delight.
Some are born to sweet delight,
Some are born to endless night.
We are led to believe a lie
When we see not thro' the eye
Which was born in a night to perish in a night,
When the Soul slept in beams of light.
God appears and God is light
To those poor souls who dwell in night,
But does a human form display
To those who dwell in realms of day.
When I Heard the Learn’d Astronomer
BY WALT WHITMAN
When I heard the learn’d astronomer,
When the proofs, the figures, were ranged in columns before me,
When I was shown the charts and diagrams, to add, divide, and measure
them,
When I sitting heard the astronomer where he lectured with much applause
in the lecture-room,
How soon unaccountable I became tired and sick,
Till rising and gliding out I wander’d off by myself,
In the mystical moist night-air, and from time to time,
Look’d up in perfect silence at the stars.
O Captain! My Captain!
BY WALT WHITMAN
O Captain! my Captain! our fearful trip is done,
The ship has weather’d every rack, the prize we sought is won,
The port is near, the bells I hear, the people all exulting,
While follow eyes the steady keel, the vessel grim and daring;
But O heart! heart! heart!
O the bleeding drops of red,
Where on the deck my Captain lies,
Fallen cold and dead.
O Captain! my Captain! rise up and hear the bells;
Rise up—for you the flag is flung—for you the bugle trills,
For you bouquets and ribbon’d wreaths—for you the shores a-crowding,
For you they call, the swaying mass, their eager faces turning;
Here Captain! dear father!
This arm beneath your head!
It is some dream that on the deck,
You’ve fallen cold and dead.
My Captain does not answer, his lips are pale and still,
My father does not feel my arm, he has no pulse nor will,
The ship is anchor’d safe and sound, its voyage closed and done,
From fearful trip the victor ship comes in with object won;
Exult O shores, and ring O bells!
But I with mournful tread,
Walk the deck my Captain lies,
Fallen cold and dead.
Clancy of the Overflow
I had written him a letter which I had, for want of better
Knowledge, sent to where I met him down the Lachlan, years ago,
He was shearing when I knew him, so I sent the letter to him,
Just "on spec", addressed as follows, "Clancy, of The Overflow".
And an answer came directed in a writing unexpected,
(And I think the same was written with a thumb-nail dipped in tar)
Twas his shearing mate who wrote it, and verbatim I will quote it:
"Clancy's gone to Queensland droving, and we don't know where he are."
In my wild erratic fancy visions come to me of Clancy
Gone a-droving "down the Cooper" where the Western drovers go;
As the stock are slowly stringing, Clancy rides behind them singing,
For the drover's life has pleasures that the townsfolk never know.
And the bush hath friends to meet him, and their kindly voices greet
him
In the murmur of the breezes and the river on its bars,
And he sees the vision splendid of the sunlit plains extended,
And at night the wond'rous glory of the everlasting stars.
I am sitting in my dingy little office, where a stingy
Ray of sunlight struggles feebly down between the houses tall,
And the foetid air and gritty of the dusty, dirty city
Through the open window floating, spreads its foulness over all
And in place of lowing cattle, I can hear the fiendish rattle
Of the tramways and the buses making hurry down the street,
And the language uninviting of the gutter children fighting,
Comes fitfully and faintly through the ceaseless tramp of feet.
And the hurrying people daunt me, and their pallid faces haunt me
As they shoulder one another in their rush and nervous haste,
With their eager eyes and greedy, and their stunted forms and weedy,
For townsfolk have no time to grow, they have no time to waste.
And I somehow rather fancy that I'd like to change with Clancy,
Like to take a turn at droving where the seasons come and go,
While he faced the round eternal of the cash-book and the journal —
But I doubt he'd suit the office, Clancy, of "The Overflow".
Stopping by Woods on a Snowy Evening
BY ROBERT FROST
Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.
My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
He gives his harness bells a shake
To ask if there is some mistake.
The only other sound’s the sweep
Of easy wind and downy flake.
The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
Fire and Ice
BY ROBERT FROST
Some say the world will end in fire,
Some say in ice.
From what I’ve tasted of desire
I hold with those who favor fire.
But if it had to perish twice,
I think I know enough of hate
To say that for destruction ice
Is also great
And would suffice.
The Negro Speaks of Rivers
BY LANGSTON HUGHES
I’ve known rivers:
I’ve known rivers ancient as the world and older than the flow of human
blood in human veins.
My soul has grown deep like the rivers.
I bathed in the Euphrates when dawns were young.
I built my hut near the Congo and it lulled me to sleep.
I looked upon the Nile and raised the pyramids above it.
I heard the singing of the Mississippi when Abe Lincoln went down to New
Orleans, and I’ve seen its muddy bosom turn all golden in the sunset.
I’ve known rivers:
Ancient, dusky rivers.
My soul has grown deep like the rivers.
Harlem
BY LANGSTON HUGHES
What happens to a dream deferred?
Does it dry up
like a raisin in the sun?
Or fester like a sore—
And then run?
Does it stink like rotten meat?
Or crust and sugar over—
like a syrupy sweet?
Maybe it just sags
like a heavy load.
Or does it explode?
We Real Cool
BY GWENDOLYN BROOKS
The Pool Players.
Seven at the Golden Shovel.
We real cool. We
Left school. We
Lurk late. We
Strike straight. We
Sing sin. We
Thin gin. We
Jazz June. We
Die soon.
A Tear And A Smile
I would not exchange the sorrows of my heart
For the joys of the multitude.
And I would not have the tears that sadness makes
To flow from my every part turn into laughter.
I would that my life remain a tear and a smile.
A tear to purify my heart and give me understanding
Of life's secrets and hidden things.
A smile to draw me nigh to the sons of my kind and
To be a symbol of my glorification of the gods.
A tear to unite me with those of broken heart;
A smile to be a sign of my joy in existence.
I would rather that I died in yearning and longing than that I live weary
and despairing.
I want the hunger for love and beauty to be in the
Depths of my spirit,for I have seen those who are
Satisfied the most wretched of people.
I have heard the sigh of those in yearning and longing, and it is sweeter
than the sweetest melody.
With evening's coming the flower folds her petals
And sleeps, embracing her longing.
At morning's approach she opens her lips to meet
The sun's kiss.
The life of a flower is longing and fulfilment.
A tear and a smile.
The waters of the sea become vapor and rise and come
Together and are a cloud.
And the cloud floats above the hills and valleys
Until it meets the gentle breeze, then falls weeping
To the fields and joins with brooks and rivers to return to the sea, its
home.
The life of clouds is a parting and a meeting.
A tear and a smile.
And so does the spirit become separated from
The greater spirit to move in the world of matter
And pass as a cloud over the mountain of sorrow
And the plains of joy to meet the breeze of death
And return whence it came.
To the ocean of Love and Beauty----to God.
Song Of The Artesian Water by Banjo
Patterson
Now the stock have started dying, for the Lord has sent a drought,
But we're sick of prayers and Providence - we're going to do without,
With the derricks up above us and the solid earth below,
We are waiting at the lever for the word to let her go.
Sinking down, deeper down,
Oh, we'll sink it deeper down:
As the drill is plugging downward at a thousand feet of level,
If the Lord won't send us water, oh, we'll get it from the devil;
Yes, we'll get it from the devil deeper down.
Now, our engine's built in Glasgow by a very canny Scot,
And he marked it twenty horse-power, but he didn't know what is what.
When Canadian Bill is firing with the sun-dried gidgee logs,
She can equal thirty horses and a score or so of dogs.
Sinking down, deeper down
Oh, we're going deeper down:
If we fail to get the water, then it's ruin to the squatter,
For the drought is on the station and the weather's growing hotter,
But we're bound to get the water deeper down.
But the shaft has started caving and the sinking's very slow,
And the yellow rods are bending in the water down below,
And the tubes are always jamming, and they can't be made to shift
Till we nearly burst the engine with a forty horse-power lift,
Sinking down, deeper down,
Oh, we're going deeper down:
Though the shaft is always caving, and the tubes are always jamming,
Yet we'll fight our way to water while the stubborn drill is ramming-
While the stubborn drill is ramming deeper down.
But there's no artesian water, though we're passed three thousand feet,
And the contract price is growing, and the boss is nearly beat.
But it must be down beneath us, and it's down we've got to go.
Though she's bumping on the solid rock four thousand feet below,
Sinking down, deeper down,
Oh, we're going deeper down:
And it's time they heard us knocking on the roof of Satan's dwellin',
But we'll get artesian water if we cave the roof of hell in-
Oh we'll get artesian water deeper down.
But it's hark! the whistle's blowing with a wild, exultant blast,
And the boys are madly cheering, for they've struck the flow at last:
And it's rushing up the tubing from four thousand feet below,
Till it spouts above the casing in a million-gallon flow.
And it's down, deeper down-
Oh, it comes from deeper down:
It is flowing, ever flowing, in a free, unstinted measure
From the silent hidden places where the old earth hides her treasure-
Where the old earth hides her treasures deeper down.
And it's clear away the timber and it's let the water run,
How it glimmers in the shadow, how it flashes in the sun!
By the silent belts of timber, by the miles of blazing plain
It is bringing hope and comfort to the thirsty land again.
Flowing down, further down:
It is flowing further down
To the tortured thirsty cattle, bringing gladness in its going;
Through the droughty days of summer it is flowing, ever flowing-
It is flowing, ever flowing, further down.
—Banjo Patterson
The Bean Eaters
BY GWENDOLYN BROOKS
They eat beans mostly, this old yellow pair.
Dinner is a casual affair.
Plain chipware on a plain and creaking wood,
Tin flatware.
Two who are Mostly Good.
Two who have lived their day,
But keep on putting on their clothes
And putting things away.
And remembering ...
Remembering, with twinklings and twinges,
As they lean over the beans in their rented back room that is full of beads
and receipts and dolls and cloths, tobacco crumbs, vases and fringes.
Bluebird
there's a bluebird in my heart that
wants to get out
but I'm too tough for him,
I say, stay in there, I'm not going
to let anybody see
you.
there's a bluebird in my heart that
wants to get out
but I pour whiskey on him and inhale
cigarette smoke
and the whores and the bartenders
and the grocery clerks
never know that
he's
in there.
there's a bluebird in my heart that
wants to get out
but I'm too tough for him,
I say,
stay down, do you want to mess
me up?
you want to screw up the
works?
you want to blow my book sales in
Europe?
there's a bluebird in my heart that
Do Not Go Gentle Into That Good Night
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.
Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.
Wild men who caught and sang the sun in flight,
And learn, too late, they grieve it on its way,
Do not go gentle into that good night.
Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.
And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.
If You Forget Me
I want you to know
one thing.
You know how this is:
if I look
at the crystal moon, at the red branch
of the slow autumn at my window,
if I touch
near the fire
the impalpable ash
or the wrinkled body of the log,
everything carries me to you,
as if everything that exists,
aromas, light, metals,
were little boats
that sail
toward those isles of yours that wait for me.
Well, now,
if little by little you stop loving me
I shall stop loving you little by little.
If suddenly
you forget me
do not look for me,
for I shall already have forgotten you.
If you think it long and mad,
the wind of banners
that passes through my life,
and you decide
to leave me at the shore
of the heart where I have roots,
remember
that on that day,
at that hour,
I shall lift my arms
and my roots will set off
to seek another land.
But
if each day,
each hour,
you feel that you are destined for me
with implacable sweetness,
if each day a flower
climbs up to your lips to seek me,
ah my love, ah my own,
in me all that fire is repeated,
in me nothing is extinguished or forgotten,
my love feeds on your love, beloved,
and as long as you live it will be in your arms
without leaving mine.
Waiting for the Barbarians
Written by Constantine P. Cavafy and Evan Jones
– Why are we waiting in the agora?
Because the barbarians arrive today.
– Why is there such uncertainty in the Senate?
Why do the Senators sit there and not legislate?
Because the barbarians arrive today.
What laws can our Senators enact now?
The barbarians will legislate when they arrive.
– Why has our emperor awoken so early,
and seated himself before the city’s main gate,
on his throne, solemn, wearing his crown?
Because the barbarians arrive today
and the emperor wants to greet
their leader. As is the custom, he will
present him with a parchment.
Many titles and names are written on it.
– Why have our two consuls and the praetors chosen
today to don their red, embroidered togas?
Why are they wearing bracelets adorned with amethyst
and rings with shiny, glistening emeralds?
Why do they carry expensive walking sticks
gilded and inlaid with silver?
Because the barbarians arrive today,
and such things impress barbarians.
– And why have our outspoken orators not come as always
to spout their words, to have their say?
Because the barbarians arrive today,
and eloquence and speeches bore them.
– Where has this anxiousness and confusion come from
all of a sudden? Look at the haunted faces.
Why are the streets and squares emptying so rapidly
and everyone returning to their homes so worried?
Because night fell and the barbarians never arrived.
Some men travelled to the border region,
and reported that the barbarians no longer exist.
——
Now what will we do without the barbarians?
They were a sort of solution for us.
December 1898
Crossing Half of China to Sleep with You
Written by Yu Xiuhua
To sleep with you or to be slept, what’s the difference if there’s any?
Two bodies collide – the force, the flower pushed open by
the force,
the virtual spring in the flowering – nothing more than this
and this we mistake as life restarting. In half of China
things are happening: volcanoes
erupting, rivers running dry,
political prisoners and displaced workers abandoned,
elk deer and red-crowned cranes shot.
I cross the hail of bullets to sleep with you.
I press many nights into one morning to sleep with you.
I run across many of me and many of me run into one to sleep
with you.
Yet I can be misled by butterflies of course
and mistake praise as spring,
a village like Hengdian as home. But all these,
all of these are absolutely indispensable
reasons that I sleep with you.
Bonfire Opera
Danusha Laméris
In those days, there was a woman in our circle
who was known, not only for her beauty,
but for taking off all her clothes and singing opera.
And sure enough, as the night wore on and the stars
emerged to stare at their reflections on the sea,
and everyone had drunk a little wine,
she began to disrobe, loose her great bosom,
and the tender belly, pale in the moonlight,
the Viking hips, and to let her torn raiment
fall to the sand as we looked up from the flames.
And then a voice lifted into the dark, high and clear
as a flock of blackbirds. And everything was very still,
the way the congregation quiets when the priest
prays over the incense, and the smoke wafts
up into the rafters. I wanted to be that free
inside the body, the doors of pleasure
opening, one after the next, an arpeggio
climbing the ladder of sky. And all the while
she was singing and wading into the water
until it rose up to her waist and then lapped
at the underside of her breasts, and the aria
drifted over us, her soprano spare and sharp
in the night air. And even though I was young,
somehow, in that moment, I heard it,
the song inside the song, and I knew then
that this was not the hymn of promise
but the body’s bright wailing against its limits.
A bird caught in a cathedral—the way it tries
to escape by throwing itself, again and again,
against the stained glass.
Refrigerator, 1957
Written by Thomas Lux
More like a vault — you pull the handle out
and on the shelves: not a lot,
And what there is (a boiled potato
in a bag, a chicken carcass
under foil) looking dispirited,
drained, mugged. This is not
a place to go in hope or hunger.
But, just to the right of the middle
of the middle door shelf, on fire, a lit-from-within red,
heart red, sexual red, wet neon red,
shining red in their liquid, exotic,
aloof, slumming
in such company: a jar
of maraschino cherries. Three-quarters
full, fiery globes, like strippers
at a church social. Maraschino cherries, maraschino,
the only foreign word I knew. Not once
did I see these cherries employed: not
in a drink, nor on top
of a glob of ice cream,
or just pop one in your mouth. Not once.
The same jar there through an entire
childhood of dull dinners — bald meat,
pocked peas and, see above,
boiled potatoes. Maybe
they came over from the old country,
family heirlooms, or were status symbols
bought with a piece of the first paycheck
from a sweatshop,
which beat the pig farm in Bohemia,
handed down from my grandparents
to my parents
to be someday mine,
then my child’s?
They were beautiful
and, if I never ate one,
it was because I knew it might be missed
or because I knew it would not be replaced
and because you do not eat
that which rips your heart with joy.
Beowulf
Written by Maria Dahvana Headley
Bro! Tell me we still know how to speak of kings! In the old days,
everyone knew what men were: brave, bold, glory-bound. Only
stories now, but I’ll sound the Spear-Danes’ song, hoarded for hungry
times.
Their first father was a foundling: Scyld Scefing.
He spent his youth fists up, browbeating every barstool-brother,
bonfiring his enemies. That man began in the waves, a baby in a basket,
but he bootstrapped his way into a kingdom, trading loneliness
for luxury. Whether they thought kneeling necessary or no,
everyone from head to tail of the whale-road bent down:
There’s a king, there’s his crown!
That was a good king.
Later, God sent Scyld a son, a wolf cub,
further proof of manhood. Being God, He knew
how the Spear-Danes had suffered, the misery
they’d mangled through, leaderless, long years of loss,
so the Life-lord, that Almighty Big Boss, birthed them
an Earth-shaker. Beow’s name kissed legions of lips
by the time he was half-grown, but his own father
was still breathing. We all know a boy can’t daddy
until his daddy’s dead. A smart son gives
gifts to his father’s friends in peacetime.
When war woos him, as war will,
he’ll need those troops to follow the leader.
Privilege is the way men prime power,
the world over.
Swale
Written by Michael Klein
It’s derby day, & it’s been 30 years since 1984 when I stood in the
grandstand at Churchill Downs after betting 20 bucks on Swale—the
horse I groomed & watched as he pulled away from the great filly Althea,
to win the 110th running of the race. Thirty years. & a lot of souls have
risen to the upper register of life & my own life has been made more
reachable by what their love did to me. I read some books & wrote some
books & watched performances that moved my thinking. I’ve seen the
man who gave me horses go home to his mother & I’ve seen other horses
break down or go home to the grasses of their beginning to make more
of their blazing kind. & after it all, I met the love of my life. & when the
government turned something over, I foolishly married him—foolishly,
only because all marriage is foolish—an errand into the maze. It’s Derby
Day & I’m remembering my life in a stable & the ordinary living that
spilled around it. I’ve eaten good food in places that had views of the
everlasting & I’m certain I’ve seen the face of God on more than one
occasion. & I’ve held animals so close to my own body, that something in
theirs must have passed through mine. But nothing has given me more
life than watching that big black beautiful shining soul run through the
animal line & past all comprehension into the music of his speed & win
that race on the first Saturday in May, in the Year of Forever. Here’s to
Swale & to others of his kind, creature of my joy & of my sorrow.
Our Bird Aegis
Written by Ray Young Bear
An immature black eagle walks assuredly
across a prairie meadow. He pauses in mid-step
with one talon over the wet snow to turn
around and see.
Imprinted in the tall grass behind him
are the shadows of his tracks,
claws instead of talons, the kind
that belongs to a massive bear.
And he goes by that name:
Ma kwi so ta.
And so this aegis looms against the last
spring blizzard. We discover he’s concerned
and the white feathers of his spotted hat
flicker, signaling this.
With outstretched wings he tests the sutures.
Even he is subject to physical wounds and human
tragedy, he tells us.
The eyes of the Bear-King radiate through
the thick, falling snow. He meditates on the loss
of my younger brother—and by custom
suppresses his emotions.
The Poison Tree
William Blake
I was angry with my friend:
I told my wrath, my wrath did end.
I was angry with my foe:
I told it not, my wrath did grow.
And I watered it in fears
Night and morning with my tears,
And I sunned it with smiles
And with soft deceitful wiles.
And it grew both day and night,
Till it bore an apple bright,
And my foe beheld it shine,
And he knew that it was mine,--
And into my garden stole
When the night had veiled the pole;
In the morning, glad, I see
My foe outstretched beneath the tree.
