Get Your Premium Membership

Best Famous Harder Poems

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

Search and read the best famous Harder poems, articles about Harder poems, poetry blogs, or anything else Harder poem related using the PoetrySoup search engine at the top of the page.

See Also:
Written by Charles Bukowski | Create an image from this poem

A Man

 George was lying in his trailer, flat on his back, watching a small portable T.
V.
His dinner dishes were undone, his breakfast dishes were undone, he needed a shave, and ash from his rolled cigarettes dropped onto his undershirt.
Some of the ash was still burning.
Sometimes the burning ash missed the undershirt and hit his skin, then he cursed, brushing it away.
There was a knock on the trailer door.
He got slowly to his feet and answered the door.
It was Constance.
She had a fifth of unopened whiskey in a bag.
"George, I left that son of a *****, I couldn't stand that son of a ***** anymore.
" "Sit down.
" George opened the fifth, got two glasses, filled each a third with whiskey, two thirds with water.
He sat down on the bed with Constance.
She took a cigarette out of her purse and lit it.
She was drunk and her hands trembled.
"I took his damn money too.
I took his damn money and split while he was at work.
You don't know how I've suffered with that son of a *****.
" " Lemme have a smoke," said George.
She handed it to him and as she leaned near, George put his arm around her, pulled her over and kissed her.
"You son of a *****," she said, "I missed you.
" "I miss those good legs of yours , Connie.
I've really missed those good legs.
" "You still like 'em?" "I get hot just looking.
" "I could never make it with a college guy," said Connie.
"They're too soft, they're milktoast.
And he kept his house clean.
George , it was like having a maid.
He did it all.
The place was spotless.
You could eat beef stew right off the crapper.
He was antisceptic, that's what he was.
" "Drink up, you'll feel better.
" "And he couldn't make love.
" "You mean he couldn't get it up?" "Oh he got it up, he got it up all the time.
But he didn't know how to make a woman happy, you know.
He didn't know what to do.
All that money, all that education, he was useless.
" "I wish I had a college education.
" "You don't need one.
You have everything you need, George.
" "I'm just a flunkey.
All the **** jobs.
" "I said you have everything you need, George.
You know how to make a woman happy.
" "Yeh?" "Yes.
And you know what else? His mother came around! His mother! Two or three times a week.
And she'd sit there looking at me, pretending to like me but all the time she was treating me like I was a whore.
Like I was a big bad whore stealing her son away from her! Her precious Wallace! Christ! What a mess!" "He claimed he loved me.
And I'd say, 'Look at my pussy, Walter!' And he wouldn't look at my pussy.
He said, 'I don't want to look at that thing.
' That thing! That's what he called it! You're not afraid of my pussy, are you, George?" "It's never bit me yet.
" "But you've bit it, you've nibbled it, haven't you George?" "I suppose I have.
" "And you've licked it , sucked it?" "I suppose so.
" "You know damn well, George, what you've done.
" "How much money did you get?" "Six hundred dollars.
" "I don't like people who rob other people, Connie.
" "That's why you're a fucking dishwasher.
You're honest.
But he's such an ass, George.
And he can afford the money, and I've earned it.
.
.
him and his mother and his love, his mother-love, his clean l;ittle wash bowls and toilets and disposal bags and breath chasers and after shave lotions and his little hard-ons and his precious love-making.
All for himself, you understand, all for himself! You know what a woman wants, George.
" "Thanks for the whiskey, Connie.
Lemme have another cigarette.
" George filled them up again.
"I missed your legs, Connie.
I've really missed those legs.
I like the way you wear those high heels.
They drive me crazy.
These modern women don't know what they're missing.
The high heel shapes the calf, the thigh, the ass; it puts rythm into the walk.
It really turns me on!" "You talk like a poet, George.
Sometimes you talk like that.
You are one hell of a dishwasher.
" "You know what I'd really like to do?" "What?" "I'd like to whip you with my belt on the legs, the ass, the thighs.
I'd like to make you quiver and cry and then when you're quivering and crying I'd slam it into you pure love.
" "I don't want that, George.
You've never talked like that to me before.
You've always done right with me.
" "Pull your dress up higher.
" "What?" "Pull your dress up higher, I want to see more of your legs.
" "You like my legs, don't you, George?" "Let the light shine on them!" Constance hiked her dress.
"God christ ****," said George.
"You like my legs?" "I love your legs!" Then george reached across the bed and slapped Constance hard across the face.
Her cigarette flipped out of her mouth.
"what'd you do that for?" "You fucked Walter! You fucked Walter!" "So what the hell?" "So pull your dress up higher!" "No!" "Do what I say!" George slapped again, harder.
Constance hiked her skirt.
"Just up to the panties!" shouted George.
"I don't quite want to see the panties!" "Christ, george, what's gone wrong with you?" "You fucked Walter!" "George, I swear, you've gone crazy.
I want to leave.
Let me out of here, George!" "Don't move or I'll kill you!" "You'd kill me?" "I swear it!" George got up and poured himself a shot of straight whiskey, drank it, and sat down next to Constance.
He took the cigarette and held it against her wrist.
She screamed.
HE held it there, firmly, then pulled it away.
"I'm a man , baby, understand that?" "I know you're a man , George.
" "Here, look at my muscles!" george sat up and flexed both of his arms.
"Beautiful, eh ,baby? Look at that muscle! Feel it! Feel it!" Constance felt one of the arms, then the other.
"Yes, you have a beautiful body, George.
" "I'm a man.
I'm a dishwasher but I'm a man, a real man.
" "I know it, George.
" "I'm not the milkshit you left.
" "I know it.
" "And I can sing, too.
You ought to hear my voice.
" Constance sat there.
George began to sing.
He sang "Old man River.
" Then he sang "Nobody knows the trouble I've seen.
" He sang "The St.
Louis Blues.
" He sasng "God Bless America," stopping several times and laughing.
Then he sat down next to Constance.
He said, "Connie, you have beautiful legs.
" He asked for another cigarette.
He smoked it, drank two more drinks, then put his head down on Connie's legs, against the stockings, in her lap, and he said, "Connie, I guess I'm no good, I guess I'm crazy, I'm sorry I hit you, I'm sorry I burned you with that cigarette.
" Constance sat there.
She ran her fingers through George's hair, stroking him, soothing him.
Soon he was asleep.
She waited a while longer.
Then she lifted his head and placed it on the pillow, lifted his legs and straightened them out on the bed.
She stood up, walked to the fifth, poured a jolt of good whiskey in to her glass, added a touch of water and drank it sown.
She walked to the trailer door, pulled it open, stepped out, closed it.
She walked through the backyard, opened the fence gate, walked up the alley under the one o'clock moon.
The sky was clear of clouds.
The same skyful of clouds was up there.
She got out on the boulevard and walked east and reached the entrance of The Blue Mirror.
She walked in, and there was Walter sitting alone and drunk at the end of the bar.
She walked up and sat down next to him.
"Missed me, baby?" she asked.
Walter looked up.
He recognized her.
He didn't answer.
He looked at the bartender and the bartender walked toward them They all knew eachother.


Written by Czeslaw Milosz | Create an image from this poem

Child of Europe

 1
We, whose lungs fill with the sweetness of day.
Who in May admire trees flowering Are better than those who perished.
We, who taste of exotic dishes, And enjoy fully the delights of love, Are better than those who were buried.
We, from the fiery furnaces, from behind barbed wires On which the winds of endless autumns howled, We, who remember battles where the wounded air roared in paroxysms of pain.
We, saved by our own cunning and knowledge.
By sending others to the more exposed positions Urging them loudly to fight on Ourselves withdrawing in certainty of the cause lost.
Having the choice of our own death and that of a friend We chose his, coldly thinking: Let it be done quickly.
We sealed gas chamber doors, stole bread Knowing the next day would be harder to bear than the day before.
As befits human beings, we explored good and evil.
Our malignant wisdom has no like on this planet.
Accept it as proven that we are better than they, The gullible, hot-blooded weaklings, careless with their lives.
2 Treasure your legacy of skills, child of Europe.
Inheritor of Gothic cathedrals, of baroque churches.
Of synagogues filled with the wailing of a wronged people.
Successor of Descartes, Spinoza, inheritor of the word 'honor', Posthumous child of Leonidas Treasure the skills acquired in the hour of terror.
You have a clever mind which sees instantly The good and bad of any situation.
You have an elegant, skeptical mind which enjoys pleasures Quite unknown to primitive races.
Guided by this mind you cannot fail to see The soundness of the advice we give you: Let the sweetness of day fill your lungs For this we have strict but wise rules.
3 There can be no question of force triumphant We live in the age of victorious justice.
Do not mention force, or you will be accused Of upholding fallen doctrines in secret.
He who has power, has it by historical logic.
Respectfully bow to that logic.
Let your lips, proposing a hypothesis Not know about the hand faking the experiment.
Let your hand, faking the experiment No know about the lips proposing a hypothesis.
Learn to predict a fire with unerring precision Then burn the house down to fulfill the prediction.
4 Grow your tree of falsehood from a single grain of truth.
Do not follow those who lie in contempt of reality.
Let your lie be even more logical than the truth itself So the weary travelers may find repose in the lie.
After the Day of the Lie gather in select circles Shaking with laughter when our real deeds are mentioned.
Dispensing flattery called: perspicacious thinking.
Dispensing flattery called: a great talent.
We, the last who can still draw joy from cynicism.
We, whose cunning is not unlike despair.
A new, humorless generation is now arising It takes in deadly earnest all we received with laughter.
5 Let your words speak not through their meanings But through them against whom they are used.
Fashion your weapon from ambiguous words.
Consign clear words to lexical limbo.
Judge no words before the clerks have checked In their card index by whom they were spoken.
The voice of passion is better than the voice of reason.
The passionless cannot change history.
6 Love no country: countries soon disappear Love no city: cities are soon rubble.
Throw away keepsakes, or from your desk A choking, poisonous fume will exude.
Do not love people: people soon perish.
Or they are wronged and call for your help.
Do not gaze into the pools of the past.
Their corroded surface will mirror A face different from the one you expected.
7 He who invokes history is always secure.
The dead will not rise to witness against him.
You can accuse them of any deeds you like.
Their reply will always be silence.
Their empty faces swim out of the deep dark.
You can fill them with any feature desired.
Proud of dominion over people long vanished, Change the past into your own, better likeness.
8 The laughter born of the love of truth Is now the laughter of the enemies of the people.
Gone is the age of satire.
We no longer need mock.
The sensible monarch with false courtly phrases.
Stern as befits the servants of a cause, We will permit ourselves sycophantic humor.
Tight-lipped, guided by reasons only Cautiously let us step into the era of the unchained fire.
Written by Howard Nemerov | Create an image from this poem

Lion and Honeycomb

 He didn't want to do it with skill,
He'd had enough of skill.
If he never saw Another villanelle, it would be too soon; And the same went for sonnets.
If it had been Hard work learning to rime, it would be much Harder learning not to.
The time came He had to ask himself, what did he want? What did he want when he began That idiot fiddling with the sounds of things.
He asked himself, poor moron, because he had Nobody else to ask.
The others went right on Talking about form, talking about myth And the (so help us) need for a modern idiom; The verseballs among them kept counting syllables.
So there he was, this forty-year-old teen-ager Dreaming preposterous mergers and divisions Of vowels like water, consonants like rock (While everybody kept discussing values And the need for values), for words that would Enter the silence and be there as a light.
So much coffee and so many cigarettes Gone down the drain, gone up in smoke, Just for the sake of getting something right Once in a while, something that could stand On its own flat feet to keep out windy time And the worm, something that might simply be, Not as the monument in the smoky rain Grimly endures, but that would be Only a moment's inviolable presence, The moment before disaster, before the storm, In its peculiar silence, an integer Fixed in the middle of the fall of things, Perfected and casual as to a child's eye Soap bubbles are, and skipping stones.
Written by Edwin Arlington Robinson | Create an image from this poem

Late Summer

 (ALCAICS)


Confused, he found her lavishing feminine 
Gold upon clay, and found her inscrutable; 
And yet she smiled.
Why, then, should horrors Be as they were, without end, her playthings? And why were dead years hungrily telling her Lies of the dead, who told them again to her? If now she knew, there might be kindness Clamoring yet where a faith lay stifled.
A little faith in him, and the ruinous Past would be for time to annihilate, And wash out, like a tide that washes Out of the sand what a child has drawn there.
God, what a shining handful of happiness, Made out of days and out of eternities, Were now the pulsing end of patience— Could he but have what a ghost had stolen! What was a man before him, or ten of them, While he was here alive who could answer them, And in their teeth fling confirmations Harder than agates against an egg-shell? But now the man was dead, and would come again Never, though she might honor ineffably The flimsy wraith of him she conjured Out of a dream with his wand of absence.
And if the truth were now but a mummery, Meriting pride’s implacable irony, So much the worse for pride.
Moreover, Save her or fail, there was conscience always.
Meanwhile, a few misgivings of innocence, Imploring to be sheltered and credited, Were not amiss when she revealed them.
Whether she struggled or not, he saw them.
Also, he saw that while she was hearing him Her eyes had more and more of the past in them; And while he told what cautious honor Told him was all he had best be sure of, He wondered once or twice, inadvertently, Where shifting winds were driving his argosies, Long anchored and as long unladen, Over the foam for the golden chances.
“If men were not for killing so carelessly, And women were for wiser endurances,” He said, “we might have yet a world here Fitter for Truth to be seen abroad in; “If Truth were not so strange in her nakedness, And we were less forbidden to look at it, We might not have to look.
” He stared then Down at the sand where the tide threw forward Its cold, unconquered lines, that unceasingly Foamed against hope, and fell.
He was calm enough, Although he knew he might be silenced Out of all calm; and the night was coming.
“I climb for you the peak of his infamy That you may choose your fall if you cling to it.
No more for me unless you say more.
All you have left of a dream defends you: “The truth may be as evil an augury As it was needful now for the two of us.
We cannot have the dead between us.
Tell me to go, and I go.
”—She pondered: “What you believe is right for the two of us Makes it as right that you are not one of us.
If this be needful truth you tell me, Spare me, and let me have lies hereafter.
” She gazed away where shadows were covering The whole cold ocean’s healing indifference.
No ship was coming.
When the darkness Fell, she was there, and alone, still gazing.
Written by Anthony Hecht | Create an image from this poem

The Transparent Man

 I'm mighty glad to see you, Mrs.
Curtis, And thank you very kindly for this visit-- Especially now when all the others here Are having holiday visitors, and I feel A little conspicuous and in the way.
It's mainly because of Thanksgiving.
All these mothers And wives and husbands gaze at me soulfully And feel they should break up their box of chocolates For a donation, or hand me a chunk of fruitcake.
What they don't understand and never guess Is that it's better for me without a family; It's a great blessing.
Though I mean no harm.
And as for visitors, why, I have you, All cheerful, brisk and punctual every Sunday, Like church, even if the aisles smell of phenol.
And you always bring even better gifts than any On your book-trolley.
Though they mean only good, Families can become a sort of burden.
I've only got my father, and he won't come, Poor man, because it would be too much for him.
And for me, too, so it's best the way it is.
He knows, you see, that I will predecease him, Which is hard enough.
It would take a callous man To come and stand around and watch me failing.
(Now don't you fuss; we both know the plain facts.
) But for him it's even harder.
He loved my mother.
They say she looked like me; I suppose she may have.
Or rather, as I grew older I came to look More and more like she must one time have looked, And so the prospect for my father now Of losing me is like having to lose her twice.
I know he frets about me.
Dr.
Frazer Tells me he phones in every single day, Hoping that things will take a turn for the better.
But with leukemia things don't improve.
It's like a sort of blizzard in the bloodstream, A deep, severe, unseasonable winter, Burying everything.
The white blood cells Multiply crazily and storm around, Out of control.
The chemotherapy Hasn't helped much, and it makes my hair fall out.
I know I look a sight, but I don't care.
I care about fewer things; I'm more selective.
It's got so I can't even bring myself To read through any of your books these days.
It's partly weariness, and partly the fact That I seem not to care much about the endings, How things work out, or whether they even do.
What I do instead is sit here by this window And look out at the trees across the way.
You wouldn't think that was much, but let me tell you, It keeps me quite intent and occupied.
Now all the leaves are down, you can see the spare, Delicate structures of the sycamores, The fine articulation of the beeches.
I have sat here for days studying them, And I have only just begun to see What it is that they resemble.
One by one, They stand there like magnificent enlargements Of the vascular system of the human brain.
I see them there like huge discarnate minds, Lost in their meditative silences.
The trunks, branches and twigs compose the vessels That feed and nourish vast immortal thoughts.
So I've assigned them names.
There, near the path, Is the great brain of Beethoven, and Kepler Haunts the wide spaces of that mountain ash.
This view, you see, has become my Hall of Fame, It came to me one day when I remembered Mary Beth Finley who used to play with me When we were girls.
One year her parents gave her A birthday toy called "The Transparent Man.
" It was made of plastic, with different colored organs, And the circulatory system all mapped out In rivers of red and blue.
She'd ask me over And the two of us would sit and study him Together, and do a powerful lot of giggling.
I figure he's most likely the only man Either of us would ever get to know Intimately, because Mary Beth became A Sister of Mercy when she was old enough.
She must be thirty-one; she was a year Older than I, and about four inches taller.
I used to envy both those advantages Back in those days.
Anyway, I was struck Right from the start by the sea-weed intricacy, The fine-haired, silken-threaded filiations That wove, like Belgian lace, throughout the head.
But this last week it seems I have found myself Looking beyond, or through, individual trees At the dense, clustered woodland just behind them, Where those great, nameless crowds patiently stand.
It's become a sort of complex, ultimate puzzle And keeps me fascinated.
My eyes are twenty-twenty, Or used to be, but of course I can't unravel The tousled snarl of intersecting limbs, That mackled, cinder grayness.
It's a riddle Beyond the eye's solution.
Impenetrable.
If there is order in all that anarchy Of granite mezzotint, that wilderness, It takes a better eye than mine to see it.
It set me on to wondering how to deal With such a thickness of particulars, Deal with it faithfully, you understand, Without blurring the issue.
Of course I know That within a month the sleeving snows will come With cold, selective emphases, with massings And arbitrary contrasts, rendering things Deceptively simple, thickening the twigs To frosty veins, bestowing epaulets And decorations on every birch and aspen.
And the eye, self-satisfied, will be misled, Thinking the puzzle solved, supposing at last It can look forth and comprehend the world.
That's when you have to really watch yourself.
So I hope that you won't think me plain ungrateful For not selecting one of your fine books, And I take it very kindly that you came And sat here and let me rattle on this way.


Written by Derek Walcott | Create an image from this poem

Forest Of Europe

 The last leaves fell like notes from a piano
and left their ovals echoing in the ear;
with gawky music stands, the winter forest
looks like an empty orchestra, its lines
ruled on these scattered manuscripts of snow.
The inlaid copper laurel of an oak shines though the brown-bricked glass above your head as bright as whisky, while the wintry breath of lines from Mandelstam, which you recite, uncoils as visibly as cigarette smoke.
"The rustling of ruble notes by the lemon Neva.
" Under your exile's tongue, crisp under heel, the gutturals crackle like decaying leaves, the phrase from Mandelstam circles with light in a brown room, in barren Oklahoma.
There is a Gulag Archipelago under this ice, where the salt, mineral spring of the long Trail of Tears runnels these plains as hard and open as a herdsman's face sun-cracked and stubbled with unshaven snow.
Growing in whispers from the Writers' Congress, the snow circles like cossacks round the corpse of a tired Choctaw till it is a blizzard of treaties and white papers as we lose sight of the single human through the cause.
So every spring these branches load their shelves, like libraries with newly published leaves, till waste recycles them—paper to snow— but, at zero of suffering, one mind lasts like this oak with a few brazen leaves.
As the train passed the forest's tortured icons, ths floes clanging like freight yards, then the spires of frozen tears, the stations screeching steam, he drew them in a single winters' breath whose freezing consonants turned into stone.
He saw the poetry in forlorn stations under clouds vast as Asia, through districts that could gulp Oklahoma like a grape, not these tree-shaded prairie halts but space so desolate it mocked destinations.
Who is that dark child on the parapets of Europe, watching the evening river mint its sovereigns stamped with power, not with poets, the Thames and the Neva rustling like banknotes, then, black on gold, the Hudson's silhouettes? >From frozen Neva to the Hudson pours, under the airport domes, the echoing stations, the tributary of emigrants whom exile has made as classless as the common cold, citizens of a language that is now yours, and every February, every "last autumn", you write far from the threshing harvesters folding wheat like a girl plaiting her hair, far from Russia's canals quivering with sunstroke, a man living with English in one room.
The tourist archipelagoes of my South are prisons too, corruptible, and though there is no harder prison than writing verse, what's poetry, if it is worth its salt, but a phrase men can pass from hand to mouth? >From hand to mouth, across the centuries, the bread that lasts when systems have decayed, when, in his forest of barbed-wire branches, a prisoner circles, chewing the one phrase whose music will last longer than the leaves, whose condensation is the marble sweat of angels' foreheads, which will never dry till Borealis shuts the peacock lights of its slow fan from L.
A.
to Archangel, and memory needs nothing to repeat.
Frightened and starved, with divine fever Osip Mandelstam shook, and every metaphor shuddered him with ague, each vowel heavier than a boundary stone, "to the rustling of ruble notes by the lemon Neva," but now that fever is a fire whose glow warms our hands, Joseph, as we grunt like primates exchanging gutturals in this wintry cave of a brown cottage, while in drifts outside mastodons force their systems through the snow.
Written by Henry Lawson | Create an image from this poem

Ill tell you what you Wanderers

 I'll tell you what you wanderers, who drift from town to town; 
Don't look into a good girl's eyes, until you've settled down.
It's hard to go away alone and leave old chums behind- It's hard to travel steerage when your tastes are more refined- To reach a place when times are bad, and to be standing there, No money in your pocket nor a decent rag to wear.
But be forced from that fond clasp, from that last clinging kiss- By poverty! There is on earth no harder thing than this.
Written by Victor Hugo | Create an image from this poem

SATIRE ON THE EARTH

 ("Une terre au flanc maigre.") 
 
 {Bk. III. xi., October, 1840.} 


 A clod with rugged, meagre, rust-stained, weather-worried face, 
 Where care-filled creatures tug and delve to keep a worthless race; 
 And glean, begrudgedly, by all their unremitting toil, 
 Sour, scanty bread and fevered water from the ungrateful soil; 
 Made harder by their gloom than flints that gash their harried hands, 
 And harder in the things they call their hearts than wolfish bands, 
 Perpetuating faults, inventing crimes for paltry ends, 
 And yet, perversest beings! hating Death, their best of friends! 
 Pride in the powerful no more, no less than in the poor; 
 Hatred in both their bosoms; love in one, or, wondrous! two! 
 Fog in the valleys; on the mountains snowfields, ever new, 
 That only melt to send down waters for the liquid hell, 
 In which, their strongest sons and fairest daughters vilely fell! 
 No marvel, Justice, Modesty dwell far apart and high, 
 Where they can feebly hear, and, rarer, answer victims' cry. 
 At both extremes, unflinching frost, the centre scorching hot; 
 Land storms that strip the orchards nude, leave beaten grain to rot; 
 Oceans that rise with sudden force to wash the bloody land, 
 Where War, amid sob-drowning cheers, claps weapons in each hand. 
 And this to those who, luckily, abide afar— 
 This is, ha! ha! a star! 


 




Written by Victor Hugo | Create an image from this poem

THE MARBLE FAUN

 ("Il semblait grelotter.") 
 
 {XXXVI., December, 1837.} 


 He seemed to shiver, for the wind was keen. 
 'Twas a poor statue underneath a mass 
 Of leafless branches, with a blackened back 
 And a green foot—an isolated Faun 
 In old deserted park, who, bending forward, 
 Half-merged himself in the entangled boughs, 
 Half in his marble settings. He was there, 
 Pensive, and bound to earth; and, as all things 
 Devoid of movement, he was there—forgotten. 
 
 Trees were around him, whipped by icy blasts— 
 Gigantic chestnuts, without leaf or bird, 
 And, like himself, grown old in that same place. 
 Through the dark network of their undergrowth, 
 Pallid his aspect; and the earth was brown. 
 Starless and moonless, a rough winter's night 
 Was letting down her lappets o'er the mist. 
 This—nothing more: old Faun, dull sky, dark wood. 
 
 Poor, helpless marble, how I've pitied it! 
 Less often man—the harder of the two. 
 
 So, then, without a word that might offend 
 His ear deformed—for well the marble hears 
 The voice of thought—I said to him: "You hail 
 From the gay amorous age. O Faun, what saw you 
 When you were happy? Were you of the Court? 
 
 "Speak to me, comely Faun, as you would speak 
 To tree, or zephyr, or untrodden grass. 
 Have you, O Greek, O mocker of old days, 
 Have you not sometimes with that oblique eye 
 Winked at the Farnese Hercules?—Alone, 
 Have you, O Faun, considerately turned 
 From side to side when counsel-seekers came, 
 And now advised as shepherd, now as satyr?— 
 Have you sometimes, upon this very bench, 
 Seen, at mid-day, Vincent de Paul instilling 
 Grace into Gondi?—Have you ever thrown 
 That searching glance on Louis with Fontange, 
 On Anne with Buckingham; and did they not 
 Start, with flushed cheeks, to hear your laugh ring forth 
 From corner of the wood?—Was your advice 
 As to the thyrsis or the ivy asked, 
 When, in grand ballet of fantastic form, 
 God Phoebus, or God Pan, and all his court, 
 Turned the fair head of the proud Montespan, 
 Calling her Amaryllis?—La Fontaine, 
 Flying the courtiers' ears of stone, came he, 
 Tears on his eyelids, to reveal to you 
 The sorrows of his nymphs of Vaux?—What said 
 Boileau to you—to you—O lettered Faun, 
 Who once with Virgil, in the Eclogue, held 
 That charming dialogue?—Say, have you seen 
 Young beauties sporting on the sward?—Have you 
 Been honored with a sight of Molière 
 In dreamy mood?—Has he perchance, at eve, 
 When here the thinker homeward went, has he, 
 Who—seeing souls all naked—could not fear 
 Your nudity, in his inquiring mind, 
 Confronted you with Man?" 
 
 Under the thickly-tangled branches, thus 
 Did I speak to him; he no answer gave. 
 
 I shook my head, and moved myself away; 
 Then, from the copses, and from secret caves 
 Hid in the wood, methought a ghostly voice 
 Came forth and woke an echo in my souls 
 As in the hollow of an amphora. 
 
 "Imprudent poet," thus it seemed to say, 
 "What dost thou here? Leave the forsaken Fauns 
 In peace beneath their trees! Dost thou not know, 
 Poet, that ever it is impious deemed, 
 In desert spots where drowsy shades repose— 
 Though love itself might prompt thee—to shake down 
 The moss that hangs from ruined centuries, 
 And, with the vain noise of throe ill-timed words, 
 To mar the recollections of the dead?" 
 
 Then to the gardens all enwrapped in mist 
 I hurried, dreaming of the vanished days, 
 And still behind me—hieroglyph obscure 
 Of antique alphabet—the lonely Faun 
 Held to his laughter, through the falling night. 
 
 I went my way; but yet—in saddened spirit 
 Pondering on all that had my vision crossed, 
 Leaves of old summers, fair ones of old time— 
 Through all, at distance, would my fancy see, 
 In the woods, statues; shadows in the past! 
 
 WILLIAM YOUNG 


 A LOVE FOR WINGED THINGS. 
 
 {XXXVII., April 12, 1840.} 


 My love flowed e'er for things with wings. 
 When boy I sought for forest fowl, 
 And caged them in rude rushes' mesh, 
 And fed them with my breakfast roll; 
 So that, though fragile were the door, 
 They rarely fled, and even then 
 Would flutter back at faintest call! 
 
 Man-grown, I charm for men. 


 




Written by Wystan Hugh (W H) Auden | Create an image from this poem

In Memory of Sigmund Freud


When there are so many we shall have to mourn,
when grief has been made so public, and exposed
to the critique of a whole epoch
the frailty of our conscience and anguish,
of whom shall we speak? For every day they die
among us, those who were doing us some good,
who knew it was never enough but
hoped to improve a little by living.
Such was this doctor: still at eighty he wished
to think of our life from whose unruliness
so many plausible young futures
with threats or flattery ask obedience,
but his wish was denied him: he closed his eyes
upon that last picture, common to us all,
of problems like relatives gathered
puzzled and jealous about our dying.
For about him till the very end were still
those he had studied, the fauna of the night,
and shades that still waited to enter
the bright circle of his recognition
turned elsewhere with their disappointment as he
was taken away from his life interest
to go back to the earth in London,
an important Jew who died in exile.
Only Hate was happy, hoping to augment
his practice now, and his dingy clientele
who think they can be cured by killing
and covering the garden with ashes.
They are still alive, but in a world he changed
simply by looking back with no false regrets;
all he did was to remember
like the old and be honest like children.
He wasn't clever at all: he merely told
the unhappy Present to recite the Past
like a poetry lesson till sooner
or later it faltered at the line where
long ago the accusations had begun,
and suddenly knew by whom it had been judged,
how rich life had been and how silly,
and was life-forgiven and more humble,
able to approach the Future as a friend
without a wardrobe of excuses, without
a set mask of rectitude or an
embarrassing over-familiar gesture.
No wonder the ancient cultures of conceit
in his technique of unsettlement foresaw
the fall of princes, the collapse of
their lucrative patterns of frustration:
if he succeeded, why, the Generalised Life
would become impossible, the monolith
of State be broken and prevented
the co-operation of avengers.
Of course they called on God, but he went his way
down among the lost people like Dante, down
to the stinking fosse where the injured
lead the ugly life of the rejected,
and showed us what evil is, not, as we thought,
deeds that must be punished, but our lack of faith,
our dishonest mood of denial,
the concupiscence of the oppressor.
If some traces of the autocratic pose,
the paternal strictness he distrusted, still
clung to his utterance and features,
it was a protective coloration
for one who'd lived among enemies so long:
if often he was wrong and, at times, absurd,
to us he is no more a person
now but a whole climate of opinion
under whom we conduct our different lives:
Like weather he can only hinder or help,
the proud can still be proud but find it
a little harder, the tyrant tries to
make do with him but doesn't care for him much:
he quietly surrounds all our habits of growth
and extends, till the tired in even
the remotest miserable duchy
have felt the change in their bones and are cheered
till the child, unlucky in his little State,
some hearth where freedom is excluded,
a hive whose honey is fear and worry,
feels calmer now and somehow assured of escape,
while, as they lie in the grass of our neglect,
so many long-forgotten objects
revealed by his undiscouraged shining
are returned to us and made precious again;
games we had thought we must drop as we grew up,
little noises we dared not laugh at,
faces we made when no one was looking.
But he wishes us more than this.
To be free
is often to be lonely.
He would unite
the unequal moieties fractured
by our own well-meaning sense of justice,
would restore to the larger the wit and will
the smaller possesses but can only use
for arid disputes, would give back to
the son the mother's richness of feeling:
but he would have us remember most of all
to be enthusiastic over the night,
not only for the sense of wonder
it alone has to offer, but also
because it needs our love.
With large sad eyes
its delectable creatures look up and beg
us dumbly to ask them to follow:
they are exiles who long for the future
that lives in our power, they too would rejoice
if allowed to serve enlightenment like him,
even to bear our cry of 'Judas',
as he did and all must bear who serve it.
One rational voice is dumb.
Over his grave
the household of Impulse mourns one dearly loved:
sad is Eros, builder of cities,
and weeping anarchic Aphrodite.

Book: Shattered Sighs