10 Best Famous Loses Poems

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

• All Famous Loses Poems

 Little Birds are dining
Warily and well,
Hid in mossy cell:
Hid, I say, by waiters
Gorgeous in their gaiters -
I've a Tale to tell.

Little Birds are feeding
Justices with jam,
Rich in frizzled ham:
Rich, I say, in oysters
Haunting shady cloisters -
That is what I am.

Little Birds are teaching
Tigresses to smile,
Innocent of guile:
Smile, I say, not smirkle -
Mouth a semicircle,
That's the proper style!

Little Birds are sleeping
All among the pins,
Where the loser wins:
Where, I say, he sneezes
When and how he pleases -
So the Tale begins.

Little Birds are writing
Interesting books,
To be read by cooks:
Read, I say, not roasted -
Letterpress, when toasted,
Loses its good looks.

Little Birds are playing
Bagpipes on the shore,
Where the tourists snore:
"Thanks!" they cry. "'Tis thrilling!
Take, oh take this shilling!
Let us have no more!"

Little Birds are bathing
Crocodiles in cream,
Like a happy dream:
Like, but not so lasting -
Crocodiles, when fasting,
Are not all they seem!

Little Birds are choking
Baronets with bun,
Taught to fire a gun:
Taught, I say, to splinter
Salmon in the winter -
Merely for the fun.

Little Birds are hiding
Crimes in carpet-bags,
Blessed by happy stags:
Blessed, I say, though beaten -
Since our friends are eaten
When the memory flags.

Little Birds are tasting
Gratitude and gold,
Pale with sudden cold:
Pale, I say, and wrinkled -
When the bells have tinkled,
And the Tale is told.

 A man doesn't have time in his life
to have time for everything.
He doesn't have seasons enough to have
a season for every purpose. Ecclesiastes
Was wrong about that.

A man needs to love and to hate at the same moment,
to laugh and cry with the same eyes,
with the same hands to throw stones and to gather them,
to make love in war and war in love.
And to hate and forgive and remember and forget,
to arrange and confuse, to eat and to digest
what history 
takes years and years to do.

A man doesn't have time.
When he loses he seeks, when he finds
he forgets, when he forgets he loves, when he loves
he begins to forget.

And his soul is seasoned, his soul
is very professional.
Only his body remains forever
an amateur. It tries and it misses,
gets muddled, doesn't learn a thing,
drunk and blind in its pleasures 
and its pains.

He will die as figs die in autumn,
Shriveled and full of himself and sweet,
the leaves growing dry on the ground,
the bare branches pointing to the place
where there's time for everything.

 I know you are reading this poem
late, before leaving your office
of the one intense yellow lamp-spot and the darkening window
in the lassitude of a building faded to quiet
long after rush-hour. I know you are reading this poem
standing up in a bookstore far from the ocean
on a grey day of early spring, faint flakes driven
across the plains' enormous spaces around you.
I know you are reading this poem
in a room where too much has happened for you to bear
where the bedclothes lie in stagnant coils on the bed
and the open valise speaks of flight
but you cannot leave yet. I know you are reading this poem
as the underground train loses momentum and before running
up the stairs
toward a new kind of love
your life has never allowed.
I know you are reading this poem by the light
of the television screen where soundless images jerk and slide
while you wait for the newscast from the intifada.
I know you are reading this poem in a waiting-room
of eyes met and unmeeting, of identity with strangers.
I know you are reading this poem by fluorescent light
in the boredom and fatigue of the young who are counted out,
count themselves out, at too early an age. I know
you are reading this poem through your failing sight, the thick
lens enlarging these letters beyond all meaning yet you read on
because even the alphabet is precious.
I know you are reading this poem as you pace beside the stove
warming milk, a crying child on your shoulder, a book in your
hand
because life is short and you too are thirsty.
I know you are reading this poem which is not in your language
guessing at some words while others keep you reading
and I want to know which words they are.
I know you are reading this poem listening for something, torn
between bitterness and hope
turning back once again to the task you cannot refuse.
I know you are reading this poem because there is nothing else
left to read
there where you have landed, stripped as you are.

 To Ernest Brace

"And when the seven thunders had uttered their voices, I was
about to write: and I heard a voice from heaven saying unto
me, Seal up those things which the seven thunders uttered, and
write them not." --REVELATIONS, x, 4.

That raft we rigged up, under the water,
Was just the item: when he walked,
With his robes blowing, dark against the sky,
It was as though the unsubstantial waves held up
His slender and inviolate feet. The gulls flew over,
Dropping, crying alone; thin ragged lengths of cloud
Drifted in bars across the sun. There on the shore
The crowd's response was instantaneous. He
Handled it well, I thought--the gait, the tilt of the head, just right.
Long streaks of light were blinding on the waves.
And then we knew our work well worth the time:
The days of sawing, fitting, all those nails,
The tiresome rehearsals, considerations of execution.
But if you want a miracle, you have to work for it,
Lay your plans carefully and keep one jump
Ahead of the crowd. To report a miracle
Is a pleasure unalloyed; but staging one requires
Tact, imagination, a special knack for the job
Not everyone possesses. A miracle, in fact, means work.
--And now there are those who have come saying
That miracles were not what we were after. But what else
Is there? What other hope does life hold out
But the miraculous, the skilled and patient
Execution, the teamwork, all the pain and worry every miracle involves?

Visionaries tossing in their beds, haunted and racked
By questions of Messiahship and eschatology,
Are like the mist rising at nightfall, and come,
Perhaps to even less. Grave supernaturalists, devoted worshippers
Experience the ecstasy (such as it is), but not
Our ecstasy. It was our making. Yet sometimes
When the torrent of that time
Comes pouring back, I wonder at our courage
And our enterprise. It was as though the world
Had been one darkening, abandoned hall
Where rows of unlit candles stood; and we
Not out of love, so much, or hope, or even worship, but
Out of the fear of death, came with our lights
And watched the candles, one by one, take fire, flames
Against the long night of our fear. We thought
That we could never die. Now I am less convinced.
--The traveller on the plain makes out the mountains
At a distance; then he loses sight. His way
Winds through the valleys; then, at a sudden turning of a path,
The peaks stand nakedly before him: they are something else
Than what he saw below. I think now of the raft
(For me, somehow, the summit of the whole experience)
And all the expectations of that day, but also of the cave
We stocked with bread, the secret meetings
In the hills, the fake assassins hired for the last pursuit,
The careful staging of the cures, the bribed officials,
The angels' garments, tailored faultlessly,
The medicines administered behind the stone,
That ultimate cloud, so perfect, and so opportune.
Who managed all that blood I never knew.

The days get longer. It was a long time ago.
And I have come to that point in the turning of the path
Where peaks are infinite--horn-shaped and scaly, choked with 

thorns.
But even here, I know our work was worth the cost.
What we have brought to pass, no one can take away.
Life offers up no miracles, unfortunately, and needs assistance.
Nothing will be the same as once it was,
I tell myself.--It's dark here on the peak, and keeps on getting 
darker.
It seems I am experiencing a kind of ecstasy.
Was it sunlight on the waves that day? The night comes down.
And now the water seems remote, unreal, and perhaps it is.

 Memorial day for the war dead. Add now
the grief of all your losses to their grief,
even of a woman that has left you. Mix
sorrow with sorrow, like time-saving history,
which stacks holiday and sacrifice and mourning
on one day for easy, convenient memory.

Oh, sweet world soaked, like bread,
in sweet milk for the terrible toothless God.
"Behind all this some great happiness is hiding."
No use to weep inside and to scream outside.
Behind all this perhaps some great happiness is hiding.

Memorial day. Bitter salt is dressed up
as a little girl with flowers.
The streets are cordoned off with ropes,
for the marching together of the living and the dead.
Children with a grief not their own march slowly,
like stepping over broken glass.

The flautist's mouth will stay like that for many days.
A dead soldier swims above little heads
with the swimming movements of the dead,
with the ancient error the dead have
about the place of the living water.

A flag loses contact with reality and flies off.
A shopwindow is decorated with
dresses of beautiful women, in blue and white.
And everything in three languages:
Hebrew, Arabic, and Death.

A great and royal animal is dying
all through the night under the jasmine
tree with a constant stare at the world.

A man whose son died in the war walks in the street
like a woman with a dead embryo in her womb.
"Behind all this some great happiness is hiding."

Nigh and day arrive and day after day goes by 
And what is old remains old and what is young remains young and grows old.
The lumber pile does not grow younger nor the two-by-fours lose their darkness 
but the old tree goes on the barn stands without help so many years;
the advocate of darkness and night is not lost.

The horse steps up swings on one leg turns its body 
the chicken flapping claws onto the roost its wings whelping and walloping 
but what is primitive is not to be shot out into the night and the dark.
And slowly the kind man comes closer loses his rage sits down at table.

So I am proud only of those days that pass in undivided tenderness 
when you sit drawing or making books stapled with messages to the world 
or coloring a man with fire coming out of his hair.
Or we sit at a table with small tea carefully poured.
So we pass our time together calm and delighted.

 And an orator said, "Speak to us of Freedom." 

And he answered: 

At the city gate and by your fireside I have seen you prostrate yourself and worship your own freedom, 

Even as slaves humble themselves before a tyrant and praise him though he slays them. 

Ay, in the grove of the temple and in the shadow of the citadel I have seen the freest among you wear their freedom as a yoke and a handcuff. 

And my heart bled within me; for you can only be free when even the desire of seeking freedom becomes a harness to you, and when you cease to speak of freedom as a goal and a fulfillment. 

You shall be free indeed when your days are not without a care nor your nights without a want and a grief, 

But rather when these things girdle your life and yet you rise above them naked and unbound. 

And how shall you rise beyond your days and nights unless you break the chains which you at the dawn of your understanding have fastened around your noon hour? 

In truth that which you call freedom is the strongest of these chains, though its links glitter in the sun and dazzle the eyes. 

And what is it but fragments of your own self you would discard that you may become free? 

If it is an unjust law you would abolish, that law was written with your own hand upon your own forehead. 

You cannot erase it by burning your law books nor by washing the foreheads of your judges, though you pour the sea upon them. 

And if it is a despot you would dethrone, see first that his throne erected within you is destroyed. 

For how can a tyrant rule the free and the proud, but for a tyranny in their own freedom and a shame in their won pride? 

And if it is a care you would cast off, that care has been chosen by you rather than imposed upon you. 

And if it is a fear you would dispel, the seat of that fear is in your heart and not in the hand of the feared. 

Verily all things move within your being in constant half embrace, the desired and the dreaded, the repugnant and the cherished, the pursued and that which you would escape. 

These things move within you as lights and shadows in pairs that cling. 

And when the shadow fades and is no more, the light that lingers becomes a shadow to another light. 

And thus your freedom when it loses its fetters becomes itself the fetter of a greater freedom.

 Weary of myself, and sick of asking
What I am, and what I ought to be,
At this vessel's prow I stand, which bears me
Forwards, forwards, o'er the starlit sea.

And a look of passionate desire
O'er the sea and to the stars I send:
'Ye who from my childhood up have calm'd me,
Calm me, ah, compose me to the end!

'Ah, once more,' I cried, 'ye stars, ye waters,
On my heart your mighty charm renew; 
Still, still let me, as I gaze upon you,
Feel my soul becoming vast like you!'

From the intense, clear, star-sown vault of heaven,
Over the lit sea's unquiet way,
In the rustling night-air came the answer:
'Wouldst thou be as these are? Live as they.

'Unaffrighted by the silence round them,
Undistracted by the sights they see,
These demand not that the things without them
Yield them love, amusement, sympathy.

'And with joy the stars perform their shining,
And the sea its long moon-silver'd roll;
For self-poised they live, nor pine with noting
All the fever of some differing soul.

'Bounded by themselves, and unregardful
In what state God's other works may be,
In their own tasks all their powers pouring,
These attain the mighty life you see.'

O air-born voice! long since, severely clear,
A cry like thine in mine own heart I hear:
'Resolve to be thyself; and know that he,
Who finds himself, loses his misery!'

 And the priestess spoke again and said: "Speak to us of Reason and Passion." 

And he answered saying: 

Your soul is oftentimes a battlefield, upon which your reason and your judgment wage war against passion and your appetite. 

Would that I could be the peacemaker in your soul, that I might turn the discord and the rivalry of your elements into oneness and melody. 

But how shall I, unless you yourselves be also the peacemakers, nay, the lovers of all your elements? 

Your reason and your passion are the rudder and the sails of your seafaring soul. 

If either your sails or our rudder be broken, you can but toss and drift, or else be held at a standstill in mid-seas. 

For reason, ruling alone, is a force confining; and passion, unattended, is a flame that burns to its own destruction. 

Therefore let your soul exalt your reason to the height of passion; that it may sing; 

And let it direct your passion with reason, that your passion may live through its own daily resurrection, and like the phoenix rise above its own ashes. 

I would have you consider your judgment and your appetite even as you would two loved guests in your house. 

Surely you would not honour one guest above the other; for he who is more mindful of one loses the love and the faith of both. 

Among the hills, when you sit in the cool shade of the white poplars, sharing the peace and serenity of distant fields and meadows - then let your heart say in silence, "God rests in reason." 

And when the storm comes, and the mighty wind shakes the forest, and thunder and lightning proclaim the majesty of the sky, - then let your heart say in awe, "God moves in passion." 

And since you are a breath In God's sphere, and a leaf in God's forest, you too should rest in reason and move in passion.

 A woman's taking her late-afternoon walk
on Chestnut where no sidewalk exists
and houses with gravel driveways
sit back among the pines. Only the house
with the vicious dog is close to the road.
An electric fence keeps him in check.
When she comes to that house, the woman
always crosses to the other side.

I'm the woman's husband. It's a problem
loving your protagonist too much.
Soon the dog is going to break through
that fence, teeth bared, and go for my wife.
She will be helpless. I'm out of town,
helpless too. Here comes the dog.
What kind of dog? A mad dog, a dog
like one of those teenagers who just loses it
on the playground, kills a teacher.

Something's going to happen that can't happen
in a good story: out of nowhere a car
comes and kills the dog. The dog flies
in the air, lands in a patch of delphiniums.
My wife is crying now. The woman who hit
the dog has gotten out of her car. She holds
both hands to her face. The woman who owns
the dog has run out of her house. Three women
crying in the street, each for different reasons.

All of this is so unlikely; it's as if
I've found myself in a country of pure fact,
miles from truth's more demanding realm.
When I listened to my wife's story on the phone
I knew I'd take it from her, tell it
every which way until it had an order
and a deceptive period at the end. That's what
I always do in the face of helplessness,
make some arrangements if I can.

Praise the odd, serendipitous world.
Nothing I'd be inclined to think of
would have stopped that dog.
Only the facts saved her.