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Best Famous Palled Poems

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

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Written by Pablo Neruda | Create an image from this poem

The Light Wraps You

 The light wraps you in its mortal flame.
Abstracted pale mourner, standing that way against the old propellers of the twighlight that revolves around you.
Speechless, my friend, alone in the loneliness of this hour of the dead and filled with the lives of fire, pure heir of the ruined day.
A bough of fruit falls from the sun on your dark garment.
The great roots of night grow suddenly from your soul, and the things that hide in you come out again so that a blue and palled people your newly born, takes nourishment.
Oh magnificent and fecund and magnetic slave of the circle that moves in turn through black and gold: rise, lead and possess a creation so rich in life that its flowers perish and it is full of sadness.


Written by Edwin Arlington Robinson | Create an image from this poem

Aunt Imogen

 Aunt Imogen was coming, and therefore 
The children—Jane, Sylvester, and Young George— 
Were eyes and ears; for there was only one 
Aunt Imogen to them in the whole world, 
And she was in it only for four weeks
In fifty-two.
But those great bites of time Made all September a Queen’s Festival; And they would strive, informally, to make The most of them.
—The mother understood, And wisely stepped away.
Aunt Imogen Was there for only one month in the year, While she, the mother,—she was always there; And that was what made all the difference.
She knew it must be so, for Jane had once Expounded it to her so learnedly That she had looked away from the child’s eyes And thought; and she had thought of many things.
There was a demonstration every time Aunt Imogen appeared, and there was more Than one this time.
And she was at a loss Just how to name the meaning of it all: It puzzled her to think that she could be So much to any crazy thing alive— Even to her sister’s little savages Who knew no better than to be themselves; But in the midst of her glad wonderment She found herself besieged and overcome By two tight arms and one tumultuous head, And therewith half bewildered and half pained By the joy she felt and by the sudden love That proved itself in childhood’s honest noise.
Jane, by the wings of sex, had reached her first; And while she strangled her, approvingly, Sylvester thumped his drum and Young George howled.
But finally, when all was rectified, And she had stilled the clamor of Young George By giving him a long ride on her shoulders, They went together into the old room That looked across the fields; and Imogen Gazed out with a girl’s gladness in her eyes, Happy to know that she was back once more Where there were those who knew her, and at last Had gloriously got away again From cabs and clattered asphalt for a while; And there she sat and talked and looked and laughed And made the mother and the children laugh.
Aunt Imogen made everybody laugh.
There was the feminine paradox—that she Who had so little sunshine for herself Should have so much for others.
How it was That she could make, and feel for making it, So much of joy for them, and all along Be covering, like a scar, and while she smiled, That hungering incompleteness and regret— That passionate ache for something of her own, For something of herself—she never knew.
She knew that she could seem to make them all Believe there was no other part of her Than her persistent happiness; but the why And how she did not know.
Still none of them Could have a thought that she was living down— Almost as if regret were criminal, So proud it was and yet so profitless— The penance of a dream, and that was good.
Her sister Jane—the mother of little Jane, Sylvester, and Young George—might make herself Believe she knew, for she—well, she was Jane.
Young George, however, did not yield himself To nourish the false hunger of a ghost That made no good return.
He saw too much: The accumulated wisdom of his years Had so conclusively made plain to him The permanent profusion of a world Where everybody might have everything To do, and almost everything to eat, That he was jubilantly satisfied And all unthwarted by adversity.
Young George knew things.
The world, he had found out, Was a good place, and life was a good game— Particularly when Aunt Imogen Was in it.
And one day it came to pass— One rainy day when she was holding him And rocking him—that he, in his own right, Took it upon himself to tell her so; And something in his way of telling it— The language, or the tone, or something else— Gripped like insidious fingers on her throat, And then went foraging as if to make A plaything of her heart.
Such undeserved And unsophisticated confidence Went mercilessly home; and had she sat Before a looking glass, the deeps of it Could not have shown more clearly to her then Than one thought-mirrored little glimpse had shown, The pang that wrenched her face and filled her eyes With anguish and intolerable mist.
The blow that she had vaguely thrust aside Like fright so many times had found her now: Clean-thrust and final it had come to her From a child’s lips at last, as it had come Never before, and as it might be felt Never again.
Some grief, like some delight, Stings hard but once: to custom after that The rapture or the pain submits itself, And we are wiser than we were before.
And Imogen was wiser; though at first Her dream-defeating wisdom was indeed A thankless heritage: there was no sweet, No bitter now; nor was there anything To make a daily meaning for her life— Till truth, like Harlequin, leapt out somehow From ambush and threw sudden savor to it— But the blank taste of time.
There were no dreams, No phantoms in her future any more: One clinching revelation of what was One by-flash of irrevocable chance, Had acridly but honestly foretold The mystical fulfilment of a life That might have once … But that was all gone by: There was no need of reaching back for that: The triumph was not hers: there was no love Save borrowed love: there was no might have been.
But there was yet Young George—and he had gone Conveniently to sleep, like a good boy; And there was yet Sylvester with his drum, And there was frowzle-headed little Jane; And there was Jane the sister, and the mother,— Her sister, and the mother of them all.
They were not hers, not even one of them: She was not born to be so much as that, For she was born to be Aunt Imogen.
Now she could see the truth and look at it; Now she could make stars out where once had palled A future’s emptiness; now she could share With others—ah, the others!—to the end The largess of a woman who could smile; Now it was hers to dance the folly down, And all the murmuring; now it was hers To be Aunt Imogen.
—So, when Young George Woke up and blinked at her with his big eyes, And smiled to see the way she blinked at him, ’T was only in old concord with the stars That she took hold of him and held him close, Close to herself, and crushed him till he laughed.
Written by Robert Browning | Create an image from this poem

Master Hugues Of Saxe-Gotha

 An imaginary composer.
] I.
Hist, but a word, fair and soft! Forth and be judged, Master Hugues! Answer the question I've put you so oft: What do you mean by your mountainous fugues? See, we're alone in the loft,--- II.
I, the poor organist here, Hugues, the composer of note, Dead though, and done with, this many a year: Let's have a colloquy, something to quote, Make the world prick up its ear! III.
See, the church empties apace: Fast they extinguish the lights.
Hallo there, sacristan! Five minutes' grace! Here's a crank pedal wants setting to rights, Baulks one of holding the base.
IV.
See, our huge house of the sounds, Hushing its hundreds at once, Bids the last loiterer back to his bounds! O you may challenge them, not a response Get the church-saints on their rounds! V.
(Saints go their rounds, who shall doubt? ---March, with the moon to admire, Up nave, down chancel, turn transept about, Supervise all betwixt pavement and spire, Put rats and mice to the rout--- VI.
Aloys and Jurien and Just--- Order things back to their place, Have a sharp eye lest the candlesticks rust, Rub the church-plate, darn the sacrament-lace, Clear the desk-velvet of dust.
) VII.
Here's your book, younger folks shelve! Played I not off-hand and runningly, Just now, your masterpiece, hard number twelve? Here's what should strike, could one handle it cunningly: HeIp the axe, give it a helve! VIII.
Page after page as I played, Every bar's rest, where one wipes Sweat from one's brow, I looked up and surveyed, O'er my three claviers yon forest of pipes Whence you still peeped in the shade.
IX.
Sure you were wishful to speak? You, with brow ruled like a score, Yes, and eyes buried in pits on each cheek, Like two great breves, as they wrote them of yore, Each side that bar, your straight beak! X.
Sure you said---``Good, the mere notes! ``Still, couldst thou take my intent, ``Know what procured me our Company's votes--- ``A master were lauded and sciolists shent, ``Parted the sheep from the goats!'' XI.
Well then, speak up, never flinch! Quick, ere my candle's a snuff ---Burnt, do you see? to its uttermost inch--- _I_ believe in you, but that's not enough: Give my conviction a clinch! XII.
First you deliver your phrase ---Nothing propound, that I see, Fit in itself for much blame or much praise--- Answered no less, where no answer needs be: Off start the Two on their ways.
XIII.
Straight must a Third interpose, Volunteer needlessly help; In strikes a Fourth, a Fifth thrusts in his nose, So the cry's open, the kennel's a-yelp, Argument's hot to the close.
XIV.
One dissertates, he is candid; Two must discept,--has distinguished; Three helps the couple, if ever yet man did; Four protests; Five makes a dart at the thing wished: Back to One, goes the case bandied.
XV.
One says his say with a difference More of expounding, explaining! All now is wrangle, abuse, and vociferance; Now there's a truce, all's subdued, self-restraining: Five, though, stands out all the stiffer hence.
XVI.
One is incisive, corrosive: Two retorts, nettled, curt, crepitant; Three makes rejoinder, expansive, explosive; Four overbears them all, strident and strepitant, Five .
.
.
O Danaides, O Sieve! XVII.
Now, they ply axes and crowbars; Now, they prick pins at a tissue Fine as a skein of the casuist Escobar's Worked on the bone of a lie.
To what issue? Where is our gain at the Two-bars? XVIII.
_Est fuga, volvitur rota.
_ On we drift: where looms the dim port? One, Two, Three, Four, Five, contribute their quota; Something is gained, if one caught but the import--- Show it us, Hugues of Saxe-Gotha! XIX.
What with affirming, denying, Holding, risposting, subjoining, All's like .
.
.
it's like .
.
.
for an instance I'm trying .
.
.
There! See our roof, its gilt moulding and groining Under those spider-webs lying! XX.
So your fugue broadens and thickens, Greatens and deepens and lengthens, Till we exclaim---``But where's music, the dickens? ``Blot ye the gold, while your spider-web strengthens ``---Blacked to the stoutest of tickens?'' XXI.
I for man's effort am zealous: Prove me such censure unfounded! Seems it surprising a lover grows jealous--- Hopes 'twas for something, his organ-pipes sounded, Tiring three boys at the bellows? XXII.
Is it your moral of Life? Such a web, simple and subtle, Weave we on earth here in impotent strife, Backward and forward each throwing his shuttle, Death ending all with a knife? XXIII.
Over our heads truth and nature--- Still our life's zigzags and dodges, Ins and outs, weaving a new legislature--- God's gold just shining its last where that lodges, Palled beneath man's usurpature.
XXIV.
So we o'ershroud stars and roses, Cherub and trophy and garland; Nothings grow something which quietly closes Heaven's earnest eye: not a glimpse of the far land Gets through our comments and glozes.
XXV.
Ah but traditions, inventions, (Say we and make up a visage) So many men with such various intentions, Down the past ages, must know more than this age! Leave we the web its dimensions! XXVI.
Who thinks Hugues wrote for the deaf, Proved a mere mountain in labour? Better submit; try again; what's the clef? 'Faith, 'tis no trifle for pipe and for tabor--- Four flats, the minor in F.
XXVII.
Friend, your fugue taxes the finger Learning it once, who would lose it? Yet all the while a misgiving will linger, Truth's golden o'er us although we refuse it--- Nature, thro' cobwebs we string her.
XXVIII.
Hugues! I advise _Me Pn_ (Counterpoint glares like a Gorgon) Bid One, Two, Three, Four, Five, clear the arena! Say the word, straight I unstop the full-organ, Blare out the _mode Palestrina.
_ XXIX.
While in the roof, if I'm right there, .
.
.
Lo you, the wick in the socket! Hallo, you sacristan, show us a light there! Down it dips, gone like a rocket.
What, you want, do you, to come unawares, Sweeping the church up for first morning-prayers, And find a poor devil has ended his cares At the foot of your rotten-runged rat-riddled stairs? Do I carry the moon in my pocket? * 1 A fugue is a short melody.
* 2 Keyboard of organ.
* 3 A note in music.
* 4 The daughters of Danaus, condemned to pour water * into a sieve.
* 5 The Spanish casuist, so severely mauled by Pascal.
* 6 A quick return in fencing.
* 7 A closely woven fabric.
* 8 _Giovanni P.
da Palestrina_, celebrated musician (1524-1594).

Book: Shattered Sighs