10 Best Famous Determined Poems

Here is a collection of the top 10 all-time best famous Determined poems. This is a select list of the best famous Determined poetry. Reading, writing, and enjoying famous Determined poetry (as well as classical and contemporary poems) is a great past time. These top poems are the best examples of determined poems.

• All Famous Determined Poems

 1
We are reading the story of our lives
which takes place in a room.
The room looks out on a street.
There is no one there,
no sound of anything.
The tress are heavy with leaves,
the parked cars never move.
We keep turning the pages, hoping for something,
something like mercy or change,
a black line that would bind us
or keep us apart.
The way it is, it would seem
the book of our lives is empty.
The furniture in the room is never shifted,
and the rugs become darker each time
our shadows pass over them.
It is almost as if the room were the world.
We sit beside each other on the couch,
reading about the couch.
We say it is ideal.
It is ideal.

2
We are reading the story of our lives,
as though we were in it,
as though we had written it.
This comes up again and again.
In one of the chapters
I lean back and push the book aside
because the book says
it is what I am doing.
I lean back and begin to write about the book.
I write that I wish to move beyond the book.
Beyond my life into another life.
I put the pen down.
The book says: "He put the pen down
and turned and watched her reading
the part about herself falling in love."
The book is more accurate than we can imagine.
I lean back and watch you read
about the man across the street.
They built a house there,
and one day a man walked out of it.
You fell in love with him
because you knew that he would never visit you,
would never know you were waiting.
Night after night you would say
that he was like me.
I lean back and watch you grow older without me.
Sunlight falls on your silver hair.
The rugs, the furniture,
seem almost imaginary now.
"She continued to read.
She seemed to consider his absence
of no special importance,
as someone on a perfect day will consider
the weather a failure
because it did not change his mind."
You narrow your eyes.
You have the impulse to close the book
which describes my resistance:
how when I lean back I imagine
my life without you, imagine moving
into another life, another book.
It describes your dependence on desire,
how the momentary disclosures
of purpose make you afraid.
The book describes much more than it should.
It wants to divide us.

3
This morning I woke and believed
there was no more to to our lives
than the story of our lives.
When you disagreed, I pointed
to the place in the book where you disagreed.
You fell back to sleep and I began to read
those mysterious parts you used to guess at
while they were being written
and lose interest in after they became
part of the story.
In one of them cold dresses of moonlight
are draped over the chairs in a man's room.
He dreams of a woman whose dresses are lost,
who sits in a garden and waits.
She believes that love is a sacrifice.
The part describes her death
and she is never named,
which is one of the things
you could not stand about her.
A little later we learn
that the dreaming man lives
in the new house across the street.
This morning after you fell back to sleep
I began to turn the pages early in the book:
it was like dreaming of childhood,
so much seemed to vanish,
so much seemed to come to life again.
I did not know what to do.
The book said: "In those moments it was his book.
A bleak crown rested uneasily on his head.
He was the brief ruler of inner and outer discord,
anxious in his own kingdom."

4
Before you woke
I read another part that described your absence
and told how you sleep to reverse
the progress of your life.
I was touched by my own loneliness as I read,
knowing that what I feel is often the crude
and unsuccessful form of a story
that may never be told.
"He wanted to see her naked and vulnerable,
to see her in the refuse, the discarded
plots of old dreams, the costumes and masks
of unattainable states.
It was as if he were drawn
irresistably to failure."
It was hard to keep reading.
I was tired and wanted to give up.
The book seemed aware of this.
It hinted at changing the subject.
I waited for you to wake not knowing
how long I waited,
and it seemed that I was no longer reading.
I heard the wind passing
like a stream of sighs
and I heard the shiver of leaves
in the trees outside the window.
It would be in the book.
Everything would be there.
I looked at your face
and I read the eyes, the nose, the mouth . . .

5
If only there were a perfect moment in the book;
if only we could live in that moment,
we could being the book again
as if we had not written it,
as if we were not in it.
But the dark approaches
to any page are too numerous
and the escapes are too narrow.
We read through the day.
Each page turning is like a candle
moving through the mind.
Each moment is like a hopeless cause.
If only we could stop reading.
"He never wanted to read another book
and she kept staring into the street.
The cars were still there,
the deep shade of trees covered them.
The shades were drawn in the new house.
Maybe the man who lived there,
the man she loved, was reading
the story of another life.
She imagine a bare parlor,
a cold fireplace, a man sitting
writing a letter to a woman
who has sacrificed her life for love."
If there were a perfect moment in the book,
it would be the last.
The book never discusses the causes of love.
It claims confusion is a necessary good.
It never explains. It only reveals.

6
The day goes on.
We study what we remember.
We look into the mirror across the room.
We cannot bear to be alone.
The book goes on.
"They became silent and did not know how to begin
the dialogue which was necessary.
It was words that created divisions in the first place,
that created loneliness.
They waited
they would turn the pages, hoping
something would happen.
They would patch up their lives in secret:
each defeat forgiven because it could not be tested,
each pain rewarded because it was unreal.
They did nothing."

7
The book will not survive.
We are the living proof of that.
It is dark outside, in the room it is darker.
I hear your breathing.
You are asking me if I am tired,
if I want to keep reading.
Yes, I am tired.
Yes, I want to keep reading.
I say yes to everything.
You cannot hear me.
"They sat beside each other on the couch.
They were the copies, the tired phantoms
of something they had been before.
The attitudes they took were jaded.
They stared into the book
and were horrified by their innocence,
their reluctance to give up.
They sat beside each other on the couch.
They were determined to accept the truth.
Whatever it was they would accept it.
The book would have to be written
and would have to be read.
They are the book and they are
nothing else.

 Love, indeed thy strength is mighty
Thus, alone, such strife to bear --
Three 'gainst one, and never ceasing --
Death, and Madness, and Despair! 
'Tis not my own strength has saved me;
Health, and hope, and fortitude,
But for love, had long since failed me;
Heart and soul had sunk subdued.

Often, in my wild impatience,
I have lost my trust in Heaven,
And my soul has tossed and struggled,
Like a vessel tempest-driven;

But the voice of my beloved
In my ear has seemed to say --
'O, be patient if thou lov'st me!'
And the storm has passed away.

When outworn with weary thinking,
Sight and thought were waxing dim,
And my mind began to wander,
And my brain began to swim,

Then those hands outstretched to save me
Seemed to call me back again --
Those dark eyes did so implore me
To resume my reason's reign,

That I could not but remember
How her hopes were fixed on me,
And, with one determined effort,
Rose, and shook my spirit free.

When hope leaves my weary spirit --
All the power to hold it gone --
That loved voice so loudly prays me,
'For my sake, keep hoping on,'

That, at once my strength renewing,
Though Despair had crushed me down,
I can burst his bonds asunder,
And defy his deadliest frown.

When, from nights of restless tossing,
Days of gloom and pining care,
Pain and weakness, still increasing,
Seem to whisper 'Death is near,'

And I almost bid him welcome,
Knowing he would bring release,
Weary of this restless struggle --
Longing to repose in peace,

Then a glance of fond reproval
Bids such selfish longings flee
And a voice of matchless music
Murmurs 'Cherish life for me!'

Roused to newborn strength and courage,
Pain and grief, I cast away,
Health and life, I keenly follow,
Mighty Death is held at bay.

Yes, my love, I will be patient!
Firm and bold my heart shall be:
Fear not -- though this life is dreary,
I can bear it well for thee.

Let our foes still rain upon me
Cruel wrongs and taunting scorn;
'Tis for thee their hate pursues me,
And for thee, it shall be borne!

 This morning was something. A little snow
lay on the ground. The sun floated in a clear
blue sky. The sea was blue, and blue-green,
as far as the eye could see.
Scarcely a ripple. Calm. I dressed and went
for a walk -- determined not to return
until I took in what Nature had to offer.
I passed close to some old, bent-over trees.
Crossed a field strewn with rocks
where snow had drifted. Kept going
until I reached the bluff.
Where I gazed at the sea, and the sky, and
the gulls wheeling over the white beach
far below. All lovely. All bathed in a pure
cold light. But, as usual, my thoughts
began to wander. I had to will
myself to see what I was seeing
and nothing else. I had to tell myself this is what
mattered, not the other. (And I did see it,
for a minute or two!) For a minute or two
it crowded out the usual musings on
what was right, and what was wrong -- duty,
tender memories, thoughts of death, how I should treat
with my former wife. All the things
I hoped would go away this morning.
The stuff I live with every day. What
I've trampled on in order to stay alive.
But for a minute or two I did forget
myself and everything else. I know I did.
For when I turned back i didn't know
where I was. Until some birds rose up
from the gnarled trees. And flew
in the direction I needed to be going.

 There are too many waterfalls here; the crowded streams 
hurry too rapidly down to the sea, 
and the pressure of so many clouds on the mountaintops 
makes them spill over the sides in soft slow-motion, 
turning to waterfalls under our very eyes. 
--For if those streaks, those mile-long, shiny, tearstains, 
aren't waterfalls yet, 
in a quick age or so, as ages go here, 
they probably will be. 
But if the streams and clouds keep travelling, travelling, 
the mountains look like the hulls of capsized ships, 
slime-hung and barnacled. 

Think of the long trip home. 
Should we have stayed at home and thought of here? 
Where should we be today? 
Is it right to be watching strangers in a play 
in this strangest of theatres? 
What childishness is it that while there's a breath of life 
in our bodies, we are determined to rush 
to see the sun the other way around? 
The tiniest green hummingbird in the world? 
To stare at some inexplicable old stonework, 
inexplicable and impenetrable, 
at any view, 
instantly seen and always, always delightful? 
Oh, must we dream our dreams 
and have them, too? 
And have we room 
for one more folded sunset, still quite warm? 

But surely it would have been a pity 
not to have seen the trees along this road, 
really exaggerated in their beauty, 
not to have seen them gesturing 
like noble pantomimists, robed in pink. 
--Not to have had to stop for gas and heard 
the sad, two-noted, wooden tune 
of disparate wooden clogs 
carelessly clacking over 
a grease-stained filling-station floor. 
(In another country the clogs would all be tested. 
Each pair there would have identical pitch.) 
--A pity not to have heard 
the other, less primitive music of the fat brown bird 
who sings above the broken gasoline pump 
in a bamboo church of Jesuit baroque: 
three towers, five silver crosses. 
--Yes, a pity not to have pondered, 
blurr'dly and inconclusively, 
on what connection can exist for centuries 
between the crudest wooden footwear 
and, careful and finicky, 
the whittled fantasies of wooden footwear 
and, careful and finicky, 
the whittled fantasies of wooden cages. 
--Never to have studied history in 
the weak calligraphy of songbirds' cages. 
--And never to have had to listen to rain 
so much like politicians' speeches: 
two hours of unrelenting oratory 
and then a sudden golden silence 
in which the traveller takes a notebook, writes: 

"Is it lack of imagination that makes us come 
to imagined places, not just stay at home? 
Or could Pascal have been not entirely right 
about just sitting quietly in one's room? 

Continent, city, country, society: 
the choice is never wide and never free. 
And here, or there . . . No. Should we have stayed at home, 
wherever that may be?"

 Coming up England by a different line
For once, early in the cold new year,
We stopped, and, watching men with number plates
Sprint down the platform to familiar gates,
'Why, Coventry!' I exclaimed. 'I was born here.'

I leant far out, and squinnied for a sign
That this was still the town that had been 'mine'
So long, but found I wasn't even clear
Which side was which. From where those cycle-crates
Were standing, had we annually departed

For all those family hols? . . . A whistle went:
Things moved. I sat back, staring at my boots.
'Was that,' my friend smiled, 'where you "have your roots"?'
No, only where my childhood was unspent,
I wanted to retort, just where I started:

By now I've got the whole place clearly charted.
Our garden, first: where I did not invent
Blinding theologies of flowers and fruits,
And wasn't spoken to by an old hat.
And here we have that splendid family

I never ran to when I got depressed,
The boys all biceps and the girls all chest,
Their comic Ford, their farm where I could be
'Really myself'. I'll show you, come to that,
The bracken where I never trembling sat,

Determined to go through with it; where she
Lay back, and 'all became a burning mist'.
And, in those offices, my doggerel
Was not set up in blunt ten-point, nor read
By a distinguished cousin of the mayor,

Who didn't call and tell my father There
Before us, had we the gift to see ahead -
'You look as though you wished the place in Hell,'
My friend said, 'judging from your face.' 'Oh well,
I suppose it's not the place's fault,' I said.

'Nothing, like something, happens anywhere.'

 Give me life at its most garish

Friday night in the Square, pink sequins dazzle

And dance on clubbers bare to the midriff

Young men in crisp shirts and pressed pants

‘Dress code smart’ gyrate to ‘Sex Bomb, Sex Bomb’

And sing along its lyrics to the throng of which I’m one

My shorts, shoulder bag and white beard

Making me stand out in the teeming swarm

Of teens and twenties this foetid Friday night

On my way from the ward where our son paces

And fulminates I throw myself into the drowning

Tide of Friday to be rescued by sheer normality.

The mill girl with her mates asks anxiously

"Are you on your own? Come and join us

What’s your name?" Age has driven my shyness away 

As I join the crowd beneath the turning purple screens 

Bannered ‘****** lasts for ever’ and sip unending 

Halves of bitter, as I circulate among the crowd, 

Being complete in itself and out for a good night out,

A relief from factory, shop floor and market stall

Running from the reality of the ward where my son 

Pounds the ledge with his fist and seems out to blast

My very existence with words like bullets.

The need to anaesthetise the pain resurfaces 

Again and again. In Leeds City Square where 

Pugin’s church, the Black Prince and the Central Post Office

In its Edwardian grandeur are startled by the arching spumes

Or white water fountains and the steel barricades of Novotel

Rise from the ruins of a sixties office block.

I hurry past and join Boar Lane’s Friday crew

From Keighley and Dewsbury’s mills, hesitating

At the thought of being told I’m past my 

Sell-by-date and turned away by the West Indian

Bouncers, black-suited and city-council badged

Who checked my bag but smiled at ‘The Lights of 

Leeds’ and ‘Poets of Our Time’ tucked away as carefully as condoms-

Was it guns or drugs they were after

I wondered as I crossed the bare boards to the bar.

I stayed near the fruit machine which no-one played,

Where the crowd was thickest, the noise drowned out the pain

‘Sex Bomb, Sex Bomb’ the chorus rang

The girls joined in but the young men knew 

The words no more than me. Dancing as we knew it 

In the sixties has gone, you do your own thing

And follow the beat, hampered by my bag

I just kept going, letting the music and the crowd

Hold me, my camera eye moving in search, in search…

What I’m searching for I don’t know

Searching’s a way of life that has to grow

"All of us who are patients here are searchers after truth"

My son kept saying, his legs shaking from the side effects

Of God-knows- what, pacing the tiny ward kitchen cum smoking room,

Denouncing his ‘illegal section’ and ‘poisonous medication’

To an audience of one.

The prospect of TV, Seroxat and Diazepan fazed me:

I was beyond unravelling Meltzer on differentiation 

Of self and object or Rosine Josef Perelberg on ‘Dreaming and Thinking’

Or even the simpler ‘Rise and Crisis of Psychoanalysis in the United States’ 

So I went out with West Yorkshire on a Friday night.

Nothing dramatic happened; perhaps I’m a little too used

To acute wards or worse where chairs fly across rooms,

Windows disintegrate and double doors are triple locked

And every nurse carries a white panic button and black pager

To pinpoint the moment’s crisis. Normality was a bit of adrenaline,

A wild therapy that drew me in, sanity had won the night.

"Are you on your own, love? Come and join us"

People kept asking if I was alright and why 

I had that damned great shoulder bag. I was introduced

To three young men about to tie the knot, a handsome lothario

In his midforties winked at me constantly,

Dancing with practised ease with sixteen year olds

Who all seemed to know him and determined to show him.

Three hours passed in as many minutes and then the crowds

Disappeared to catch the last bus home. The young aren’t 

As black as they are painted, one I danced with reminded me

Of how Margaret would have been at sixteen

With straw gold hair Yeats would have immortalised.

People seemed to guess I was haunted by an inner demon

I’d tried to leave in the raftered lofts of City Square

But failed to. Girls from sixteen to twenty six kept grabbing me

And making me dance and I found my teenage inhibitions

Gone at sixty-one and wildly gyrated to ‘Sex Bomb, Sex Bomb’

Egged on by the throng by the fruit machine and continuous

Thumbs-up signs from passing men. I had to forgo

A cheerful group of Aussies were intent on taking me clubbing

"I’d get killed or turned into a pumpkin

If I get home after midnight" I quipped to their delight

But being there had somehow put things right.

 I 

Jesús, Estrella, Esperanza, Mercy: 

Sails flashing to the wind like weapons, 
sharks following the moans the fever and the dying; 
horror the corposant and compass rose. 

Middle Passage: 
voyage through death 
to life upon these shores. 

"10 April 1800-- 
Blacks rebellious. Crew uneasy. Our linguist says 
their moaning is a prayer for death, 
our and their own. Some try to starve themselves. 
Lost three this morning leaped with crazy laughter 
to the waiting sharks, sang as they went under." 

Desire, Adventure, Tartar, Ann: 

Standing to America, bringing home 
black gold, black ivory, black seed. 

Deep in the festering hold thy father lies, of his bones 
New England pews are made, those are altar lights that were his eyes. 

Jesus Saviour Pilot Me 
Over Life's Tempestuous Sea 


We pray that Thou wilt grant, O Lord, 
safe passage to our vessels bringing 
heathen souls unto Thy chastening. 

Jesus Saviour 

"8 bells. I cannot sleep, for I am sick 
with fear, but writing eases fear a little 
since still my eyes can see these words take shape 
upon the page & so I write, as one 
would turn to exorcism. 4 days scudding, 
but now the sea is calm again. Misfortune 
follows in our wake like sharks (our grinning 
tutelary gods). Which one of us 
has killed an albatross? A plague among 
our blacks--Ophthalmia: blindness--& we 
have jettisoned the blind to no avail. 
It spreads, the terrifying sickness spreads. 
Its claws have scratched sight from the Capt.'s eyes 
& there is blindness in the fo'c'sle 
& we must sail 3 weeks before we come 
to port." 

What port awaits us, Davy Jones' or home? I've 
heard of slavers drifting, drifting, playthings of wind and storm and 
chance, their crews gone blind, the jungle hatred crawling 
up on deck. 

Thou Who Walked On Galilee 

"Deponent further sayeth The Bella J 
left the Guinea Coast 
with cargo of five hundred blacks and odd 
for the barracoons of Florida: 

"That there was hardly room 'tween-decks for half 
the sweltering cattle stowed spoon-fashion there; 
that some went mad of thirst and tore their flesh 
and sucked the blood: 

"That Crew and Captain lusted with the comeliest 
of the savage girls kept naked in the cabins; 
that there was one they called The Guinea Rose 
and they cast lots and fought to lie with her: 

"That when the Bo's'n piped all hands, the flames 
spreading from starboard already were beyond 
control, the ******* howling and their chains 
entangled with the flames: 

"That the burning blacks could not be reached, 
that the Crew abandoned ship, 
leaving their shrieking negresses behind, 
that the Captain perished drunken with the wenches: 

"Further Deponent sayeth not." 

Pilot Oh Pilot Me 


II 

Aye, lad, and I have seen those factories, 
Gambia, Rio Pongo, Calabar; 
have watched the artful mongos baiting traps 
of war wherein the victor and the vanquished 

Were caught as prizes for our barracoons. 
Have seen the ****** kings whose vanity 
and greed turned wild black hides of Fellatah, 
Mandingo, Ibo, Kru to gold for us. 

And there was one--King Anthracite we named him-- 
fetish face beneath French parasols 
of brass and orange velvet, impudent mouth 
whose cups were carven skulls of enemies: 

He'd honor us with drum and feast and conjo 
and palm-oil-glistening wenches deft in love, 
and for tin crowns that shone with paste, 
red calico and German-silver trinkets 

Would have the drums talk war and send 
his warriors to burn the sleeping villages 
and kill the sick and old and lead the young 
in coffles to our factories. 

Twenty years a trader, twenty years, 
for there was wealth aplenty to be harvested 
from those black fields, and I'd be trading still 
but for the fevers melting down my bones. 


III 

Shuttles in the rocking loom of history, 
the dark ships move, the dark ships move, 
their bright ironical names 
like jests of kindness on a murderer's mouth; 
plough through thrashing glister toward 
fata morgana's lucent melting shore, 
weave toward New World littorals that are 
mirage and myth and actual shore. 

Voyage through death, 
voyage whose chartings are unlove. 

A charnel stench, effluvium of living death 
spreads outward from the hold, 
where the living and the dead, the horribly dying, 
lie interlocked, lie foul with blood and excrement. 

Deep in the festering hold thy father lies, the corpse of mercy 
rots with him, rats eat love's rotten gelid eyes. But, oh, the 
living look at you with human eyes whose suffering accuses you, whose 
hatred reaches through the swill of dark to strike you like a leper's 
claw. You cannot stare that hatred down or chain the fear that stalks 
the watches and breathes on you its fetid scorching breath; cannot 
kill the deep immortal human wish, the timeless will. 

"But for the storm that flung up barriers 
of wind and wave, The Amistad, señores, 
would have reached the port of Príncipe in two, 
three days at most; but for the storm we should 
have been prepared for what befell. 
Swift as a puma's leap it came. There was 
that interval of moonless calm filled only 
with the water's and the rigging's usual sounds, 
then sudden movement, blows and snarling cries 
and they had fallen on us with machete 
and marlinspike. It was as though the very 
air, the night itself were striking us. 
Exhausted by the rigors of the storm, 
we were no match for them. Our men went down 
before the murderous Africans. Our loyal 
Celestino ran from below with gun 
and lantern and I saw, before the cane- 
knife's wounding flash, Cinquez, 
that surly brute who calls himself a prince, 
directing, urging on the ghastly work. 
He hacked the poor mulatto down, and then 
he turned on me. The decks were slippery 
when daylight finally came. It sickens me 
to think of what I saw, of how these apes 
threw overboard the butchered bodies of 
our men, true Christians all, like so much jetsam. 
Enough, enough. The rest is quickly told: 
Cinquez was forced to spare the two of us 
you see to steer the ship to Africa, 
and we like phantoms doomed to rove the sea 
voyaged east by day and west by night, 
deceiving them, hoping for rescue, 
prisoners on our own vessel, till 
at length we drifted to the shores of this 
your land, America, where we were freed 
from our unspeakable misery. Now we 
demand, good sirs, the extradition of 
Cinquez and his accomplices to La 
Havana. And it distresses us to know 
there are so many here who seem inclined 
to justify the mutiny of these blacks. 
We find it paradoxical indeed 
that you whose wealth, whose tree of liberty 
are rooted in the labor of your slaves 
should suffer the august John Quincey Adams 
to speak with so much passion of the right 
of chattel slaves to kill their lawful masters 
and with his Roman rhetoric weave a hero's 
garland for Cinquez. I tell you that 
we are determined to return to Cuba 
with our slaves and there see justice done. 
Cinquez-- 
or let us say 'the Prince'--Cinquez shall die." 

The deep immortal human wish, 
the timeless will: 

Cinquez its deathless primaveral image, 
life that transfigures many lives. 

Voyage through death 
to life upon these shores.

 'Twas in the year of 1869, and on the 19th of November,
Which the people in Southern Germany will long remember,
The great rain-storm which for twenty hours did pour down,
That the rivers were overflowed and petty streams all around. 

The rain fell in such torrents as had never been seen before,
That it seemed like a second deluge, the mighty torrents' roar,
At nine o'clock at night the storm did rage and moan
When Carl Springel set out on his crutches all alone -- 

From the handsome little hut in which he dwelt,
With some food to his father, for whom he greatly felt,
Who was watching at the railway bridge,
Which was built upon a perpendicular rocky ridge. 

The bridge was composed of iron and wooden blocks,
And crossed o'er the Devil's Gulch, an immense cleft of rocks,
Two hundred feet wide and one hundred and fifty feet deep,
And enough to make one's flesh to creep. 

Far beneath the bridge a mountain-stream did boil and rumble,
And on that night did madly toss and tumble;
Oh! it must have been an awful sight
To see the great cataract falling from such a height. 

It was the duty of Carl's father to watch the bridge on stormy nights,
And warn the on-coming trains of danger with the red lights;
So, on this stormy night, the boy Carl hobbled along
Slowly and fearlessly upon his crutches, because he wasn't strong. 

He struggled on manfully with all his might
Through the fearful darkness of the night,
And half-blinded by the heavy rain,
But still resolved the bridge to gain. 

But when within one hundred yards of the bridge, it gave way with an awful crash,
And fell into the roaring flood below, and made a fearful splash,
Which rose high above the din of the storm,
The like brave Carl never heard since he was born. 

Then; 'Father! father!' cried Carl in his loudest tone,
'Father! father!' he shouted again in very pitiful moans;
But no answering voice did reply,
Which caused him to heave a deep-fetched sigh. 

And now to brave Carl the truth was clear
That he had lost his father dear,
And he cried, 'My poor father's lost, and cannot be found,
He's gone down with the bridge, and has been drowned.' 

But he resolves to save the on-coming train,
So every nerve and muscle he does strain,
And he trudges along dauntlessly on his crutches,
And tenaciously to them he clutches. 

And just in time he reaches his father's car
To save the on-coming train from afar,
So he seizes the red light, and swings it round,
And cried with all his might, 'The bridge is down! The bridge is down!' 

So forward his father's car he drives,
Determined to save the passengers' lives,
Struggling hard with might and main,
Hoping his struggle won't prove in vain. 

So on comes the iron-horse snorting and rumbling,
And the mountain-torrent at the bridge kept roaring and tumbling;
While brave Carl keeps shouting, 'The bridge is down! The bridge is down!'
He cried with a pitiful wail and sound. 

But, thank heaven, the engine-driver sees the red light
That Carl keeps swinging round his head with all his might;
But bang! bang! goes the engine with a terrible crash,
And the car is dashed all to smash. 

But the breaking of the car stops the train,
And poor Carl's struggle is not in vain;
But, poor soul, he was found stark dead,
Crushed and mangled from foot to head! 

And the passengers were all loud in Carl's praise,
And from the cold wet ground they did him raise,
And tears for brave Carl fell silently around,
Because he had saved two hundred passengers from being drowned. 

In a quiet village cemetery he now sleeps among the silent dead,
In the south of Germany, with a tombstone at his head,
Erected by the passengers he saved in the train,
And which to his memory will long remain.

 Who's she, that one in your arms?

She's the one I carried my bones to
and built a house that was just a cot
and built a life that was over an hour
and built a castle where no one lives
and built, in the end, a song
to go with the ceremony.

Why have you brought her here?
Why do you knock on my door
with your little stores and songs?

I had joined her the way a man joins
a woman and yet there was no place
for festivities or formalities
and these things matter to a woman
and, you see, we live in a cold climate
and are not permitted to kiss on the street
so I made up a song that wasn't true.
I made up a song called Marriage.

You come to me out of wedlock
and kick your foot on my stoop
and ask me to measure such things?

Never. Never. Not my real wife.
She's my real witch, my fork, my mare,
my mother of tears, my skirtful of hell,
the stamp of my sorrows, the stamp of my bruises
and also the children she might bear
and also a private place, a body of bones
that I would honestly buy, if I could buy,
that I would marry, if I could marry.

And should I torment you for that?
Each man has a small fate allotted to him
and yours is a passionate one.

But I am in torment. We have no place.
The cot we share is almost a prison
where I can't say buttercup, bobolink,
sugarduck, pumpkin, love ribbon, locket,
valentine, summergirl, funnygirl and all
those nonsense things one says in bed.
To say I have bedded with her is not enough.
I have not only bedded her down.
I have tied her down with a knot.

Then why do you stick your fists
into your pockets? Why do you shuffle
your feet like a schoolboy?

For years I have tied this knot in my dreams.
I have walked through a door in my dreams
and she was standing there in my mother's apron.
Once she crawled through a window that was shaped
like a keyhole and she was wearing my daughter's
pink corduroys and each time I tied these women
in a knot. Once a queen came. I tied her too.
But this is something I have actually tied
and now I have made her fast.
I sang her out. I caught her down.
I stamped her out with a song.
There was no other apartment for it.
There was no other chamber for it.
Only the knot. The bedded-down knot.
Thus I have laid my hands upon her
and have called her eyes and her mouth
as mine, as also her tongue.

Why do you ask me to make choices?
I am not a judge or a psychologist.
You own your bedded-down knot.

And yet I have real daytimes and nighttimes
with children and balconies and a good wife.
Thus I have tied these other knots,
yet I would rather not think of them
when I speak to you of her. Not now.
If she were a room to rent I would pay.
If she were a life to save I would save.
Maybe I am a man of many hearts.

A man of many hearts?
Why then do you tremble at my doorway?
A man of many hearts does not need me.

I'm caught deep in the dye of her.
I have allowed you to catch me red-handed,
catch me with my wild oats in a wild clock
for my mare, my dove and my own clean body.
People might say I have snakes in my boots
but I tell you that just once am I in the stirrups,
just once, this once, in the cup.
The love of the woman is in the song.
I called her the woman in red.
I called her the woman in pink
but she was ten colors
and ten women
I could hardly name her.

I know who she is.
You have named her enough.

Maybe I shouldn't have put it in words.
Frankly, I think I'm worse for this kissing,
drunk as a piper, kicking the traces
and determined to tie her up forever.
You see the song is the life,
the life I can't live.
God, even as he passes,
hand down monogamy like slang.
I wanted to write her into the law.
But, you know, there is no law for this.

Man of many hearts, you are a fool!
The clover has grown thorns this year
and robbed the cattle of their fruit
and the stones of the river
have sucked men's eyes dry,
season after season,
and every bed has been condemned,
not by morality or law,
but by time.

 What is she writing? Watch her now, 
How fast her fingers move !
How eagerly her youthful brow 
Is bent in thought above !
Her long curls, drooping, shade the light, 
She puts them quick aside,
Nor knows, that band of crystals bright, 
Her hasty touch untied.
It slips adown her silken dress, 
Falls glittering at her feet;
Unmarked it falls, for she no less 
Pursues her labour sweet. 

The very loveliest hour that shines, 
Is in that deep blue sky;
The golden sun of June declines, 
It has not caught her eye.
The cheerful lawn, and unclosed gate, 
The white road, far away,
In vain for her light footsteps wait, 
She comes not forth to-day.
There is an open door of glass
Close by that lady's chair,
From thence, to slopes of mossy grass, 
Descends a marble stair. 

Tall plants of bright and spicy bloom
Around the threshold grow;
Their leaves and blossoms shade the room,
From that sun's deepening glow.
Why does she not a moment glance
Between the clustering flowers,
And mark in heaven the radiant dance
Of evening's rosy hours ?
O look again ! Still fixed her eye,
Unsmiling, earnest, still,
And fast her pen and fingers fly,
Urged by her eager will. 

Her soul is in th' absorbing task;
To whom, then, doth she write ?
Nay, watch her still more closely, ask
Her own eyes' serious light;
Where do they turn, as now her pen
Hangs o'er th' unfinished line ?
Whence fell the tearful gleam that then
Did in their dark spheres shine ?
The summer-parlour looks so dark,
When from that sky you turn,
And from th' expanse of that green park,
You scarce may aught discern. 

Yet o'er the piles of porcelain rare,
O'er flower-stand, couch, and vase,
Sloped, as if leaning on the air,
One picture meets the gaze. 
'Tis there she turns; you may not see
Distinct, what form defines
The clouded mass of mystery
Yon broad gold frame confines.
But look again; inured to shade
Your eyes now faintly trace
A stalwart form, a massive head,
A firm, determined face. 

Black Spanish locks, a sunburnt cheek,
A brow high, broad, and white,
Where every furrow seems to speak
Of mind and moral might.
Is that her god ? I cannot tell;
Her eye a moment met
Th' impending picture, then it fell
Darkened and dimmed and wet.
A moment more, her task is done,
And sealed the letter lies;
And now, towards the setting sun
She turns her tearful eyes. 

Those tears flow over, wonder not,
For by the inscription, see
In what a strange and distant spot
Her heart of hearts must be !
Three seas and many a league of land
That letter must pass o'er,
E'er read by him to whose loved hand
'Tis sent from England's shore. 
Remote colonial wilds detain
Her husband, loved though stern;
She, 'mid that smiling English scene,
Weeps for his wished return.