Wallace Stevens | |
A sunny day's complete Poussiniana
Divide it from itself.
It is this or that
And it is not.
By metaphor you paint
Thus, the pineapple was a leather fruit,
A fruit for pewter, thorned and palmed and blue,
To be served by men of ice.
The senses paint
The juice was fragranter
Than wettest cinnamon.
It was cribled pears
Dripping a morning sap.
The truth must be
That you do not see, you experience, you feel,
That the buxom eye brings merely its element
To the total thing, a shapeless giant forced
Green were the curls upon that head.
Jorge Luis Borges | |
We are the time.
We are the famous
metaphor from Heraclitus the Obscure.
We are the water, not the hard diamond,
the one that is lost, not the one that stands still.
We are the river and we are that greek
that looks himself into the river.
changes into the waters of the changing mirror,
into the crystal that changes like the fire.
We are the vain predetermined river,
in his travel to his sea.
The shadows have surrounded him.
Everything said goodbye to us, everything goes away.
Memory does not stamp his own coin.
However, there is something that stays
however, there is something that bemoans.
Margaret Atwood | |
My daughter plays on the floor
with plastic letters,
red, blue & hard yellow,
learning how to spell,
how to make spells.
I wonder how many women
denied themselves daughters,
closed themselves in rooms,
drew the curtains
so they could mainline words.
A child is not a poem,
a poem is not a child.
There is no either / or.
I return to the story
of the woman caught in the war
& in labour, her thighs tied
together by the enemy
so she could not give birth.
Ancestress: the burning witch,
her mouth covered by leather
to strangle words.
A word after a word
after a word is power.
At the point where language falls away
from the hot bones, at the point
where the rock breaks open and darkness
flows out of it like blood, at
the melting point of granite
when the bones know
they are hollow & the word
splits & doubles & speaks
the truth & the body
itself becomes a mouth.
This is a metaphor.
How do you learn to spell?
Blood, sky & the sun,
your own name first,
your first naming, your first name,
your first word.
More great poems below...
Omer Tarin | |
Once before I've heard this
A long-drawn note of many-lettered woe,
The great open beak straining
against the roar of raging surf;
Head, thrown back, taut
against the distant sails
Anger flickering in eyes flecked with amber,
rolling in lonely knowledge,
this bond servant of the sea,
tied by its giant wingspan
to the torturous flight of sainthood
in its terrible existence
by the yellow fog of banality
to the squalor of urban beachfronts ,
snuffed out in the face of its own metaphor
screaming curses unto heaven,
proud to the very last;
''Once before'', I said,
''I've heard this cry''.
(from ''Burnt Offerings'', 1996)
Les Murray | |
In the World language, sometimes called
Airport Road, a thinks balloon with a gondola
under it is a symbol for speculation.
Thumbs down to ear and tongue:
World can be written and read, even painted
but not spoken.
People use their own words.
Latin letters are in it for names, for e.
OK and H2S O4, for musical notes,
but mostly it's diagrams: skirt-figure, trousered figure
have escaped their toilet doors.
I (that is, saya,
Ego, watashji wa) am two eyes without pupils;
those aren't seen when you look out through them.
You has both pupils, we has one, and one blank.
Good is thumbs up, thumb and finger zipping lips
Evil is three-cornered snake eyes.
The effort is always to make the symbols obvious:
the bolt of electricity, winged stethoscope of course
for flying doctor.
Prams under fire? Soviet film industry.
Pictographs also shouldn't be too culture-bound:
A heart circled and crossed out surely isn't.
For red, betel spit lost out to ace of diamonds.
Black is the ace of spades.
The kind of spades
reads Union boss, the two is feeble effort.
If is the shorthand Libra sing , the scales.
Spare literal pictures render most nouns and verbs
and computers can draw them faster than Pharaoh's scribes.
A bordello prospectus is as explicit as the action,
but everywhere there's sunflower talk, i.
metaphor, as we've seen.
A figure riding a skyhook
bearing food in one hand is the pictograph for grace,
two animals in a book read Nature, two books
Inside an animal, instinct.
Rice in bowl with chopsticks
Figure 1 lying prone equals other.
Most emotions are mini-faces, and the speech
balloon is ubiquitous.
A bull inside one is dialect
for placards inside one.
Sun and moon together
inside one is poetry.
Sun and moon over palette,
over shoes etc are all art forms — but above
a cracked heart and champagne glass? Riddle that
and you're starting to think in World, whose grammar
is Chinese-terse and fluid.
Who needs the square-
equals-diamond book, the dictionary,to know figures
led by strings to their genitals mean fashion?
just as a skirt beneath a circle meanas demure
or ao similar circle shouldering two arrows is macho.
All peoples are at times cat in water with this language
but it does promote international bird on shoulder.
This foretaste now lays its knife and fork parallel.
Ogden Nash | |
One thing that literature would be greatly the better for
Would be a more restricted employment by the authors of simile and
Authors of all races, be they Greeks, Romans, Teutons or Celts,
Can't seem just to say that anything is the thing it is but have to
go out of their way to say that it is like something else.
What does it mean when we are told
That that Assyrian came down like a wolf on the fold?
In the first place, George Gordon Byron had enough experience
To know that it probably wasn't just one Assyrian, it was a lot of
However, as too many arguments are apt to induce apoplexy and
thus hinder longevity.
We'll let it pass as one Assyrian for the sake of brevity.
Now then, this particular Assyrian, the one whose cohorts were
gleaming in purple and gold,
Just what does the poet mean when he says he came down like a
wold on the fold?
In heaven and earth more than is dreamed of in our philosophy
there are great many things.
But I don't imagine that among them there is a wolf with purple
and gold cohorts or purple and gold anythings.
No, no, Lord Byron, before I'll believe that this Assyrian was
actually like a wolf I must have some kind of proof;
Did he run on all fours and did he have a hairy tail and a big red
mouth and big white teeth and did he say Woof Woof?
Frankly I think it is very unlikely, and all you were entitled to say,
at the very most,
Was that the Assyrian cohorts came down like a lot of Assyrian
cohorts about to destroy the Hebrew host.
But that wasn't fancy enough for Lord Byron, oh dear me no, he
had to invent a lot of figures of speech and then interpolate them,
With the result that whenever you mention Old Testament soldiers
to people they say Oh yes, they're the ones that a lot of
wolves dressed up in gold and purple ate them.
That's the kind of thing that's being done all the time by poets,
from Homer to Tennyson;
They're always comparing ladies to lilies and veal to venison,
And they always say things like that the snow is a white blanket
after a winter storm.
Oh it is, is it, all right then, you sleep under a six-inch blanket of
snow and I'll sleep under a half-inch blanket of unpoetical
blanket material and we'll see which one keeps warm,
And after that maybe you'll begin to comprehend dimly
What I mean by too much metaphor and simile.
Dylan Thomas | |
If I were tickled by the rub of love,
A rooking girl who stole me for her side,
Broke through her straws, breaking my bandaged string,
If the red tickle as the cattle calve
Still set to scratch a laughter from my lung,
I would not fear the apple nor the flood
Nor the bad blood of spring.
Shall it be male or female? say the cells,
And drop the plum like fire from the flesh.
If I were tickled by the hatching hair,
The winging bone that sprouted in the heels,
The itch of man upon the baby's thigh,
I would not fear the gallows nor the axe
Nor the crossed sticks of war.
Shall it be male or female? say the fingers
That chalk the walls with greet girls and their men.
I would not fear the muscling-in of love
If I were tickled by the urchin hungers
Rehearsing heat upon a raw-edged nerve.
I would not fear the devil in the loin
Nor the outspoken grave.
If I were tickled by the lovers' rub
That wipes away not crow's-foot nor the lock
Of sick old manhood on the fallen jaws,
Time and the crabs and the sweethearting crib
Would leave me cold as butter for the flies
The sea of scums could drown me as it broke
Dead on the sweethearts' toes.
This world is half the devil's and my own,
Daft with the drug that's smoking in a girl
And curling round the bud that forks her eye.
An old man's shank one-marrowed with my bone,
And all the herrings smelling in the sea,
I sit and watch the worm beneath my nail
Wearing the quick away.
And that's the rub, the only rub that tickles.
The knobbly ape that swings along his sex
From damp love-darkness and the nurse's twist
Can never raise the midnight of a chuckle,
Nor when he finds a beauty in the breast
Of lover, mother, lovers, or his six
Feet in the rubbing dust.
And what's the rub? Death's feather on the nerve?
Your mouth, my love, the thistle in the kiss?
My Jack of Christ born thorny on the tree?
The words of death are dryer than his stiff,
My wordy wounds are printed with your hair.
I would be tickled by the rub that is:
Man be my metaphor.
Craig Raine | |
(for Rona, Jeremy, Sam & Grace)
All the lizards are asleep--
perched pagodas with tiny triangular tiles,
each milky lid a steamed-up window.
Inside, the heart repeats itself like a sleepy gong,
summoning nothing to nothing.
In winter time, the zoo reverts to metaphor,
God's poetry of boredom:
the cobra knits her Fair-Isle skin,
rattlers titter over the same joke.
All of them endlessly finish spaghetti.
The python runs down like a spring,
and time stops on some ancient Sabbath.
Pythagorean bees are shut inside the hive,
which hymns and hums like Sunday chapel--
drowsy thoughts in a wrinkled brain.
The fire's gone out--
crocodiles lie like wet beams,
cross-hatched by flames that no one can remember.
Grasshoppers shiver, chafe their limbs
and try to keep warm,
crouching on their marks perpetually.
The African cricket is trussed like a cold chicken:
the sneeze of movement returns it to the same position,
in the same body.
There is no change.
The rumple-headed lion has nowhere to go
and snoozes in his grimy combinations.
A chaise lounge with missing castors,
the walrus is stuck forever on his rock.
Sleepily, the seals play crib,
scoring on their upper lips.
The chimps kill fleas and time,
sewing nothing to nothing
Vultures in their shabby Sunday suits
fidget with broken umbrellas,
while the ape beats his breast
and yodels out repentance.
Their feet are an awful dream of bunions--
but the buffalo's brazil nut bugle-horns
can never sound reveille.
Adrienne Rich | |
My swirling wants.
Your frozen lips.
The grammar turned and attacked me.
Themes, written under duress.
Emptiness of the notations.
They gave me a drug that slowed the healing of wounds.
I want you to see this before I leave:
the experience of repetition as death
the failure of criticism to locate the pain
the poster in the bus that said:
my bleeding is under control
A red plant in a cemetary of plastic wreaths.
A last attempt: the language is a dialect called metaphor.
These images go unglossed: hair, glacier, flashlight.
When I think of a landscape I am thinking of a time.
When I talk of taking a trip I mean forever.
I could say: those mountains have a meaning
but further than that I could not say.
To do something very common, in my own way.
Vernon Scannell | |
That one small boy with a face like pallid cheese
And burnt-out little eyes could make a blaze
As brazen, fierce and huge, as red and gold
And zany yellow as the one that spoiled
Three thousand guineas' worth of property
And crops at Godwin's Farm on Saturday
Is frightening---as fact and metaphor:
An ordinary match intended for
The lighting of a pipe or kitchen fire
Misused may set a whole menagerie
Of flame-fanged tigers roaring hungrily.
And frightening, too, that one small boy should set
The sky on fire and choke the stars to heat
Such skinny limbs and such a little heart
Which would have been content with one warm kiss
Had there been anyone to offer this.
Delmore Schwartz | |
The riches of the poet are equal to his poetry
His power is his left hand
It is idle weak and precious
His poverty is his wealth, a wealth which may destroy him
like Midas Because it is that laziness which is a form of impatience
And this he may be destroyed by the gold of the light
which never was
On land or sea.
He may be drunken to death, draining the casks of excess
That extreme form of success.
He may suffer Narcissus' destiny
Unable to live except with the image which is infatuation
Love, blind, adoring, overflowing
Unable to respond to anything which does not bring love
quickly or immediately.
The poet must be innocent and ignorant
But he cannot be innocent since stupidity is not his strong
Therefore Cocteau said, "What would I not give
To have the poems of my youth withdrawn from
I would give to Satan my immortal soul.
This metaphor is wrong, for it is his immortal soul which
he wished to redeem,
Lifting it and sifting it, free and white, from the actuality of
youth's banality, vulgarity,
pomp and affectation of his early
works of poetry.
So too in the same way a Famous American Poet
When fame at last had come to him sought out the fifty copies
of his first book of poems which had been privately printed
by himself at his own expense.
He succeeded in securing 48 of the 50 copies, burned them
And learned then how the last copies were extant,
As the law of the land required, stashed away in the national capital,
at the Library of Congress.
Therefore he went to Washington, therefore he took out the last two
Placed them in his pocket, planned to depart
Only to be halted and apprehended.
Since he was the author,
Since they were his books and his property he was reproached
But the two copies were taken away from him
Thus setting a national precedent.
For neither amnesty nor forgiveness is bestowed upon poets, poetry and poems,
For William James, the lovable genius of Harvard
spoke the terrifying truth: "Your friends may forget, God
may forgive you, But the brain cells record
your acts for the rest of eternity.
What a terrifying thing to say!
This is the endless doom, without remedy, of poetry.
This is also the joy everlasting of poetry.
Anne Sexton | |
For months my hand was sealed off
in a tin box.
Nothing was there but the subway railings.
Perhaps it is bruised, I thought,
and that is why they have locked it up.
You could tell time by this, I thought,
like a clock, by its five knuckles
and the thin underground veins.
It lay there like an unconscious woman
fed by tubes she knew not of.
The hand had collapse,
a small wood pigeon
that had gone into seclusion.
I turned it over and the palm was old,
its lines traced like fine needlepoint
and stitched up into fingers.
It was fat and soft and blind in places.
Nothing but vulnerable.
And all this is metaphor.
An ordinary hand -- just lonely
for something to touch
that touches back.
The dog won't do it.
Her tail wags in the swamp for a frog.
I'm no better than a case of dog food.
She owns her own hunger.
My sisters won't do it.
They live in school except for buttons
and tears running down like lemonade.
My father won't do it.
He comes in the house and even at night
he lives in a machine made by my mother
and well oiled by his job, his job.
The trouble is
that I'd let my gestures freeze.
The trouble was not
in the kitchen or the tulips
but only in my head, my head.
Then all this became history.
Your hand found mine.
Life rushed to my fingers like a blood clot.
Oh, my carpenter,
the fingers are rebuilt.
They dance with yours.
They dance in the attic and in Vienna.
My hand is alive all over America.
Not even death will stop it,
death shedding her blood.
Nothing will stop it, for this is the kingdom
and the kingdom come.
Edgar Lee Masters | |
Oh many times did Ernest Hyde and I
Argue about the freedom of the will.
My favorite metaphor was Prickett's cow
Roped out to grass, and free you know as far
As the length of the rope.
One day while arguing so, watching the cow
Pull at the rope to get beyond the circle
Which she had eaten bare,
Out came the stake, and tossing up her head,
She ran for us.
"What's that, free-will or what?" said Ernest, running.
I fell just as she gored me to my death.
Robinson Jeffers | |
The universe expands and contracts like a great heart.
It is expanding, the farthest nebulae
Rush with the speed of light into empty space.
It will contract, the immense navies of stars and galaxies,
dust clouds and nebulae
Are recalled home, they crush against each other in one
harbor, they stick in one lump
And then explode it, nothing can hold them down; there is no
way to express that explosion; all that exists
Roars into flame, the tortured fragments rush away from each
other into all the sky, new universes
Jewel the black breast of night; and far off the outer nebulae
like charging spearmen again
No wonder we are so fascinated with
And our huge bombs: it is a kind of homesickness perhaps for
the howling fireblast that we were born from.
But the whole sum of the energies
That made and contain the giant atom survives.
gather again and pile up, the power and the glory--
And no doubt it will burst again; diastole and systole: the
whole universe beats like a heart.
Peace in our time was never one of God's promises; but back
and forth, live and die, burn and be damned,
The great heart beating, pumping into our arteries His
He is beautiful beyond belief.
And we, God's apes--or tragic children--share in the beauty.
We see it above our torment, that's what life's for.
He is no God of love, no justice of a little city like Dante's
Florence, no anthropoid God
Making commandments,: this is the God who does not care
and will never cease.
Look at the seas there
Flashing against this rock in the darkness--look at the
tide-stream stars--and the fall of nations--and dawn
Wandering with wet white feet down the Caramel Valley to
meet the sea.
These are real and we see their beauty.
The great explosion is probably only a metaphor--I know not
--of faceless violence, the root of all things.
Elizabeth Jennings | |
When the gardener has gone this garden
Looks wistful and seems waiting an event.
It is so spruce, a metaphor of Eden
And even more so since the gardener went,
Quietly godlike, but of course, he had
Not made me promise anything and I
Had no one tempting me to make the bad
Yet I still felt lost and wonder why.
Even the beech tree from next door which shares
Its shadow with me, seemed a kind of threat.
Everything was too neat, and someone cares
In the wrong way.
I need not have stood long
Mocked by the smell of a mown lawn, and yet
Sickness for Eden was so strong.