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Best Famous Patterns Poems

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Written by A R Ammons | Create an image from this poem

Easter Morning

 I have a life that did not become,
that turned aside and stopped,
astonished:
I hold it in me like a pregnancy or
as on my lap a child
not to grow old but dwell on

it is to his grave I most
frequently return and return
to ask what is wrong, what was
wrong, to see it all by
the light of a different necessity
but the grave will not heal
and the child,
stirring, must share my grave
with me, an old man having
gotten by on what was left

when I go back to my home country in these
fresh far-away days, it’s convenient to visit
everybody, aunts and uncles, those who used to say,
look how he’s shooting up, and the
trinket aunts who always had a little
something in their pocketbooks, cinnamon bark
or a penny or nickel, and uncles who
were the rumored fathers of cousins
who whispered of them as of great, if
troubled, presences, and school

teachers, just about everybody older
(and some younger) collected in one place
waiting, particularly, but not for
me, mother and father there, too, and others
close, close as burrowing
under skin, all in the graveyard
assembled, done for, the world they
used to wield, have trouble and joy
in, gone

the child in me that could not become
was not ready for others to go,
to go on into change, blessings and
horrors, but stands there by the road
where the mishap occurred, crying out for
help, come and fix this or we
can’t get by, but the great ones who
were to return, they could not or did
not hear and went on in a flurry and
now, I say in the graveyard, here
lies the flurry, now it can’t come
back with help or helpful asides, now
we all buy the bitter
incompletions, pick up the knots of
horror, silently raving, and go on
crashing into empty ends not
completions, not rondures the fullness
has come into and spent itself from

I stand on the stump
of a child, whether myself
or my little brother who died, and
yell as far as I can, I cannot leave this place, for
for me it is the dearest and the worst,
it is life nearest to life which is
life lost: it is my place where
I must stand and fail,
calling attention with tears
to the branches not lofting
boughs into space, to the barren
air that holds the world that was my world

though the incompletions
(& completions) burn out
standing in the flash high-burn
momentary structure of ash, still it
is a picture-book, letter-perfect
Easter morning: I have been for a
walk: the wind is tranquil: the brook
works without flashing in an abundant
tranquility: the birds are lively with
voice: I saw something I had
never seen before: two great birds,
maybe eagles, blackwinged, whitenecked
and –headed, came from the south oaring
the great wings steadily; they went
directly over me, high up, and kept on
due north: but then one bird,
the one behind, veered a little to the
left and the other bird kept on seeming
not to notice for a minute: the first
began to circle as if looking for
something, coasting, resting its wings
on the down side of some of the circles:
the other bird came back and they both
circled, looking perhaps for a draft;
they turned a few more times, possibly
rising—at least, clearly resting—
then flew on falling into distance till
they broke across the local bush and
trees: it was a sight of bountiful
majesty and integrity: the having
patterns and routes, breaking
from them to explore other patterns or
better ways to routes, and then the
return: a dance sacred as the sap in
the trees, permanent in its descriptions
as the ripples round the brook’s
ripplestone: fresh as this particular
flood of burn breaking across us now
from the sun.


Written by Rg Gregory | Create an image from this poem

from the Ansty Experience

 (a)
they seek to celebrate the word
not to bring their knives out on a poem
dissecting it to find a heart
whose beat lies naked on a table
not to score in triumph on a line
no sensitive would put a nostril to
but simply to receive it as an
offering glimpsing the sacred there

poem probes the poet's once-intention
but each time said budges its truth
afresh (leaving the poet's self
estranged from the once-intending man)
and six ears in the room have tuned
objectives sifting the coloured strands
the words have hidden from the poet
asking what world has come to light

people measured by their heartbeats
language can't flout that come-and-go
to touch the heartbeat in a poem
calls for the brain's surrender
a warm diffusion of the mind
a listening to an eery silence
the words both mimic and destroy
(no excuses slipping off the tongue)

and when a poem works the unknown
opens a timid shutter on a world
so familiar it's not been seen
before - and then it's gone bringing
a frisson to an altered room
and in a stuttering frenzy dusty
attributes are tried to resurrect
a glimpse of what it's like inside

a truth (the glow a glow-worm makes)
this is not (not much) what happens
there's serious concern and banter
there's opacity there's chit-chat
diversions and derailings from
a line some avalanche has blocked
(what a fine pass through the mountains)
poetry and fidgets are blood-brothers

it's within all these the cosmos calls
that makes these afternoons a rich
adventure through a common field
when three men moving towards death
(without alacrity but conscious of it)
find youth again and bubble with
its springs - opening worn valves
to give such flow their own direction

there's no need of competition
no wish to prove that one of us
holds keys the others don't to the
sacral chambers - no want to find
consensus in technique or drench 
the rites of words in orthodox 
belief - difference is essential
and delightful (integrity's all)

quality's a private quarrel
between the poem and the poet - taste
the private hang-up of receivers
mostly migrained by exposure
to opinions not their own - fed
from a culture no one bleeds in
sustained by reputations manured
by a few and spread by hearsay

(b)
these meetings are a modest vow
to let each poet speak uncluttered
from establishment's traditions
and conditions where passions rippling
from the marrow can choose a space
to innocent themselves and long-held
tastes for carlos williams gurney
poems to siva (to name a few)

can surface in a side-attempt 
to show unexpected lineage from
the source to present patterns
of the poet - but at the core
of every poem read and comment made
it's not the poem or the poet
being sifted to the seed but
poetry itself given the works

the most despised belittled
enervated creative cowcake
of them all in the public eye
prestigious when it doesn't matter
to the clapped-out powers and turned
away from when too awkward and 
impolitic to confront - ball
to be bounced from high art to low

when fights break out amongst the teachers
and shakespeare's wielded as a cane
as the rich old crusty clan reverts
to the days it hated him at school
but loved the beatings - loudhailer
broken-down old-banger any ram-it-
up-your-**** and suck-my-prick to those
who want to tear chintz curtains down

and shock the cosy populace to taste
life at its rawest (most obscene)
courtesan to fashion and today's 
ploy - advertisement's gold gimmick
slave of beat and rhythm - dead but
much loved donkey in the hearts of all
who learned di-dah di-dah at school
and have been stuck in the custard since

plaything political-tool pop-
star's goo - poetry's been made to garb
itself in all these rags and riches
this age applauds the eye - is one 
of outward exploration - the earth
(in life) and universe (in fiction)
are there for scurrying over - haste
is everything and the beat is all

fireworks feed the fancy - a great ah
rewards the enterprise that fills
night skies with flashing bountifuls
of way-out stars - poetry has to be
in service to this want (is fed
into the system gracelessly)
there can be no standing-still or
stopping-by no take a little time

and see what blossoms here - we're into
poetry in motion and all that ****
and i can accept it all - what stirs
the surface of the ocean ignores
the depths - what talks the hindlegs off
the day can't murder dreams - that's not
to say the depths and dreams aren't there
for those who need them - it's commonplace

they hold the keystones of our lives
i fear something else much deeper
the diabolical self-deceiving
(wilful destruction of the spirit)
by those loudspeaking themselves
as poetry's protectors - publishers
editors literature officers
poetry societies and centres

all all jumping on the flagship
competition's crock of gold
find the winners pick the famous
all the hopefuls cry please name us
aspiring poets search their wardrobes
for the wordy swimsuit likely
to catch the eyeful of the judges
(winners too in previous contests

inured to the needle of success
but this time though now they are tops
totally pissed-off with the process
only here because the money's good)
winners' middle name is wordsworth
losers swallow a dose of shame
organisers rub their golden hands
pride themselves on their discernment

these jacks have found the beanstalk
castle harp and the golden egg
the stupid giant and his frightened wife
who let them steal their best possessions
whose ear for poetry's so poor
they think fum rhymes with englishman
and so of course they get no prizes
thief and trickster now come rich

poetry's purpose is to hit the jackpot
so great the lust for poetic fame
thousands without a ghost of winning
find poems like mothballs in their drawers
sprinkle them with twinkling stardust
post them off with copperplate cheques
the judges wipe their arses on them
the money's gone to a super cause

everyone knows it's just a joke
who gets taken - the foolish and vain
if they're daft enough and such bad poets
more money than sense the best advice 
is - keep it up grannies the cause
is noble and we'll take your cheque
again and again and again
it's the winners who fall in the bog

to win is to be preened - conceit
finds a little fluffy nest dear
to the feted heart and swells there
fed (for a foetal space) on all 
the praisiest worms but in the nest 
is a bloated thing that sucks (and chokes)
on hurt that has the knack of pecking
where there's malice - it grows two heads

winners by their nature soon become
winged and weighted - icarus begins
to prey upon their waking dreams 
prometheus gnawed by eagles 
the tight-shut box epimetheus
gave pandora about to burst
apart - yeats's centre cannot hold
being poets they know the references

and they learn the lesson quickly
climb upon others as they would
climb on you - in short be ruthless
or be dead they mostly fade away
being too intact or too weak-willed
to go the shining way with light-
ning bolts at every second bend 
agents breathing fire up their pants

those who withstand the course become
the poets of their day (and every one
naturally good as gold - exceptions
to the rule - out of the hearing
and the judgment of their rivals)
the media covet the heartache
and the bile - love the new meteor
can't wait to blast it from the heavens

universities will start the cult
with-it secondary teachers catch
the name on fast - magazines begin
to taste the honey on the plate
and soon another name is buzzing 
round the bars where literary pass-
ons meet to dole out bits of hem
i accept it all - it's not for me

above it all the literary lions
(jackals to each other) stand posed
upon their polystyrene mountains
constructed by their fans and foes
alike (they have such need of them)
disdaining what they see but terror-
stricken when newcomers climb up 
waving their thin bright books

for so long they've dubbed themselves
the intellectual cream - deigning
to hand out poems when they're asked
(for proper recompense in cash
or fawning) - but well beyond the risk
of letting others turn the bleeders
down so sure they are they're halfway
to the gods (yet still need preening)

a poem from one of them is like 
the loaves and fishes jesus touched
and rendered food for the five thousand
they too can walk on water in
their home - or so the reviewers say
poetry from their mouths is such a gift
if you don't read or understand it
you'll be damned - i accept all that

but what i can't accept is (all 
this while) the source and bed of what
is poetry to me as cracked and parched -
condemned ignored made mock of 
shoved in wilderness by those 
who've gone the gilded route (mapped out 
by ego and a driving need to claim
best prick with a capital pee)

it's being roomed with the said poem
coming back and back to the same
felt heartbeat having its way with words
absorbing the strains and promises
that make the language opt for paths
no other voice would go - shifting
a dull stone and knowing what bright
creature this instinct has bred there

it's trusting the poet with his own map
not wanting to tear it up before
the ink is dry because the symbols
he's been using don't suit your own
conception of terrain you've not
been born to - it's being pleased
to have connections made in ways
you couldn't dream of (wouldn't want to)
Written by Barry Tebb | Create an image from this poem

IN HARM'S WAY

 I was never a film buff, give me Widmark and Wayne any day

Saturday matin?es with Margaret Gardener still hold sway

As my memory veers backwards this temperate Boxing Day-

Westerns and war films and a blurred Maigret,

Coupled with a worn-out sixties Penguin Mallarm?-

How about that mix for a character trait?

Try as I may I can’t get my head round the manifold virtues

Of Geraldine Monk or either Riley

Poetry has to have a meaning, not just patterns on a page,

Vertical words and snips of scores just make me rage.
Is Thom Gunn really the age-old sleaze-weasel Andrew Duncan says? Is Tim Allen right to give Geraldine Monk an eleven page review? At least they care for poetry to give their lives to it As we do, too.
My syntax far from perfect, my writing illegible But somehow I’ll get through, Bloodaxe and Carcourt May jeer but an Indian printer’s busy with my ‘Collected’ And, Calcutta typesetters permitting, it will be out this year With the red gold script of sari cloth on the spine And **** those dusty grey contemporary voices Those verses will be mine.
Haslam’s a whole lot better but touchy as a prima donna And couldn’t take it when I said he’d be a whole lot better If he’d unloose his affects and let them scatter I’m envious of his habitat, The Haworth Moors Living there should be the inspiration of my old age But being monophobic I can’t face the isolation Or persuade my passionate friend to join me.
What urban experiences can improve Upon a cottage life with my own muse!
Written by Robert William Service | Create an image from this poem

The Choice

 Some inherit manly beauty,
Some come into worldly wealth;
Some have lofty sense of duty,
Others boast exultant health.
Though the pick may be confusing, Health, wealth, charm or character, If you had the chance of choosing Which would you prefer? I'm not sold on body beauty, Though health I appreciate; Character and sense of duty I resign to Men of State.
I don't need a heap of money; Oh I know I'm hard to please.
Though to you it may seem funny, I want none of these.
No, give me Imagination, And the gift of weaving words Into patterns of creation, With the lilt of singing birds; Passion and the power to show it, Sense of life with love expressed: Let my be a bloody poet,-- You can keep the rest.
Written by T S (Thomas Stearns) Eliot | Create an image from this poem

The Love Song of J. Alfred Prufrock

 S’io credesse che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma perciocche giammai di questo fondo Non torno vivo alcun, s’i’odo il vero, Senza tema d’infamia ti rispondo.
Let us go then, you and I, When the evening is spread out against the sky Like a patient etherised upon a table; Let us go, through certain half-deserted streets, The muttering retreats Of restless nights in one-night cheap hotels And sawdust restaurants with oyster-shells: Streets that follow like a tedious argument Of insidious intent To lead you to an overwhelming question.
.
.
Oh, do not ask, "What is it?" Let us go and make our visit.
In the room the women come and go Talking of Michelangelo.
The yellow fog that rubs its back upon the window-panes, The yellow smoke that rubs its muzzle on the window-panes, Licked its tongue into the corners of the evening Lingered upon the pools that stand in drains, Let fall upon its back the soot that falls from chimneys, Slipped by the terrace, made a sudden leap, And seeing that it was a soft October night, Curled once about the house, and fell asleep.
And indeed there will be time For the yellow smoke that slides along the street Rubbing its back upon the window-panes; There will be time, there will be time To prepare a face to meet the faces that you meet; There will be time to murder and create, And time for all the works and days of hands That lift and drop a question on your plate, Time for you and time for me, And time yet for a hundred indecisions, And for a hundred visions and revisions, Before the taking of a toast and tea.
In the room the women come and go Talking of Michelangelo.
And indeed there will be time To wonder, "Do I dare?" and, "Do I dare?" Time to turn back and descend the stair, With a bald spot in the middle of my hair— (They will say: "How his hair is growing thin!") My morning coat, my collar mounting firmly to the chin, My necktie rich and modest, but asserted by a simple pin— (They will say: "But how his arms and legs are thin!") Do I dare Disturb the universe? In a minute there is time For decisions and revisions which a minute win reverse.
For I have known them all already, known them all— Have known the evenings, mornings, afternoons, I have measured out my life with coffee spoons; I know the voices dying with a dying fall Beneath the music from a farther room.
So how should I presume? And I have known the eyes already, known them all— The eyes that fix you in a formulated phrase, And when I am formulated, sprawling on a pin, When I am pinned and wriggling on the wall, Then how should I begin To spit out all the butt-ends of my days and ways? And how should I presume? And I have known the arms already, known them all— Arms that are braceleted and white and bare (But in the lamplight, downed with light brown hair!) Is it perfume from a dress That makes me so digress? Arms that lie along a table, or wrap about a shawl.
And should I then presume? And how should I begin? Shall I say, I have gone at dusk through narrow streets And watched the smoke that rises from the pipes Of lonely men in shirt-sleeves, leaning out of windows? I should have been a pair of ragged claws Scuttling across the floors of silent seas.
.
.
.
.
.
And the afternoon, the evening, sleeps so peacefully! Smoothed by long fingers, Asleep .
.
.
tired .
.
.
or it malingers, Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices, Have the strength to force the moment to its crisis? But though I have wept and fasted, wept and prayed, Though I have seen my head (grown slightly bald) brought in upon a platter, I am no prophet-and here's no great matter; I have seen the moment of my greatness flicker, And I have seen the eternal Footman hold my coat, and snicker, And in short, I was afraid.
And would it have been worth it, after all, After the cups, the marmalade, the tea, Among the porcelain, among some talk of you and me, Would it have been worth while, To have bitten off the matter with a smile, To have squeezed the universe into a ball To roll it towards some overwhelming question, To say: "I am Lazarus, come from the dead, Come back to tell you all, I shall tell you all"— If one, settling a pillow by her head, Should say: "That is not what I meant at all.
That is not it, at all.
" And would it have been worth it, after all, Would it have been worth while, After the sunsets and the dooryards and the sprinkled streets, After the novels, after the teacups, after the skirts that trail along the floor— And this, and so much more?— It is impossible to say just what I mean! But as if a magic lantern threw the nerves in patterns on a screen: Would it have been worth while If one, settling a pillow or throwing off a shawl, And turning toward the window, should say: "That is not it at all, That is not what I meant, at all.
" No! I am not Prince Hamlet, nor was meant to be; Am an attendant lord, one that will do To swell a progress, start a scene or two, Advise the prince; no doubt, an easy tool Deferential, glad to be of use, Politic, cautious, and meticulous; Full of high sentence, but a bit obtuse; At times, indeed, almost ridiculous— Almost, at times, the Fool.
I grow old .
.
.
I grow old .
.
.
I shall wear the bottoms of my trousers rolled.
Shall I part my hair behind? Do I dare to eat a peach? I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.
I do not think that they will sing to me.
I have seen them riding seaward on the waves Combing the white hair of the waves blown back When the wind blows the water white and black.
We have lingered in the chambers of the sea By sea-girls wreathed with seaweed red and brown Till human voices wake us, and we drown.


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.
Written by Conrad Aiken | Create an image from this poem

The House Of Dust: Part 03: 10: Letter

 From time to time, lifting his eyes, he sees
The soft blue starlight through the one small window,
The moon above black trees, and clouds, and Venus,—
And turns to write .
.
.
The clock, behind ticks softly.
It is so long, indeed, since I have written,— Two years, almost, your last is turning yellow,— That these first words I write seem cold and strange.
Are you the man I knew, or have you altered? Altered, of course—just as I too have altered— And whether towards each other, or more apart, We cannot say .
.
.
I've just re-read your letter— Not through forgetfulness, but more for pleasure— Pondering much on all you say in it Of mystic consciousness—divine conversion— The sense of oneness with the infinite,— Faith in the world, its beauty, and its purpose .
.
.
Well, you believe one must have faith, in some sort, If one's to talk through this dark world contented.
But is the world so dark? Or is it rather Our own brute minds,—in which we hurry, trembling, Through streets as yet unlighted? This, I think.
You have been always, let me say, "romantic,"— Eager for color, for beauty, soon discontented With a world of dust and stones and flesh too ailing: Even before the question grew to problem And drove you bickering into metaphysics, You met on lower planes the same great dragon, Seeking release, some fleeting satisfaction, In strange aesthetics .
.
.
You tried, as I remember, One after one, strange cults, and some, too, morbid, The cruder first, more violent sensations, Gorgeously carnal things, conceived and acted With splendid animal thirst .
.
.
Then, by degrees,— Savoring all more delicate gradations In all that hue and tone may play on flesh, Or thought on brain,—you passed, if I may say so, From red and scarlet through morbid greens to mauve.
Let us regard ourselves, you used to say, As instruments of music, whereon our lives Will play as we desire: and let us yield These subtle bodies and subtler brains and nerves To all experience plays .
.
.
And so you went From subtle tune to subtler, each heard once, Twice or thrice at the most, tiring of each; And closing one by one your doors, drew in Slowly, through darkening labyrinths of feeling, Towards the central chamber .
.
.
Which now you've reached.
What, then's, the secret of this ultimate chamber— Or innermost, rather? If I see it clearly It is the last, and cunningest, resort Of one who has found this world of dust and flesh,— This world of lamentations, death, injustice, Sickness, humiliation, slow defeat, Bareness, and ugliness, and iteration,— Too meaningless; or, if it has a meaning, Too tiresomely insistent on one meaning: Futility .
.
.
This world, I hear you saying,— With lifted chin, and arm in outflung gesture, Coldly imperious,—this transient world, What has it then to give, if not containing Deep hints of nobler worlds? We know its beauties,— Momentary and trivial for the most part, Perceived through flesh, passing like flesh away,— And know how much outweighed they are by darkness.
We are like searchers in a house of darkness, A house of dust; we creep with little lanterns, Throwing our tremulous arcs of light at random, Now here, now there, seeing a plane, an angle, An edge, a curve, a wall, a broken stairway Leading to who knows what; but never seeing The whole at once .
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We grope our way a little, And then grow tired.
No matter what we touch, Dust is the answer—dust: dust everywhere.
If this were all—what were the use, you ask? But this is not: for why should we be seeking, Why should we bring this need to seek for beauty, To lift our minds, if there were only dust? This is the central chamber you have come to: Turning your back to the world, until you came To this deep room, and looked through rose-stained windows, And saw the hues of the world so sweetly changed.
Well, in a measure, so only do we all.
I am not sure that you can be refuted.
At the very last we all put faith in something,— You in this ghost that animates your world, This ethical ghost,—and I, you'll say, in reason,— Or sensuous beauty,—or in my secret self .
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Though as for that you put your faith in these, As much as I do—and then, forsaking reason,— Ascending, you would say, to intuition,— You predicate this ghost of yours, as well.
Of course, you might have argued,—and you should have,— That no such deep appearance of design Could shape our world without entailing purpose: For can design exist without a purpose? Without conceiving mind? .
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We are like children Who find, upon the sands, beside a sea, Strange patterns drawn,—circles, arcs, ellipses, Moulded in sand .
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Who put them there, we wonder? Did someone draw them here before we came? Or was it just the sea?—We pore upon them, But find no answer—only suppositions.
And if these perfect shapes are evidence Of immanent mind, it is but circumstantial: We never come upon him at his work, He never troubles us.
He stands aloof— Well, if he stands at all: is not concerned With what we are or do.
You, if you like, May think he broods upon us, loves us, hates us, Conceives some purpose of us.
In so doing You see, without much reason, will in law.
I am content to say, 'this world is ordered, Happily so for us, by accident: We go our ways untroubled save by laws Of natural things.
' Who makes the more assumption? If we were wise—which God knows we are not— (Notice I call on God!) we'd plumb this riddle Not in the world we see, but in ourselves.
These brains of ours—these delicate spinal clusters— Have limits: why not learn them, learn their cravings? Which of the two minds, yours or mine, is sound? Yours, which scorned the world that gave it freedom, Until you managed to see that world as omen,— Or mine, which likes the world, takes all for granted, Sorrow as much as joy, and death as life?— You lean on dreams, and take more credit for it.
I stand alone .
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Well, I take credit, too.
You find your pleasure in being at one with all things— Fusing in lambent dream, rising and falling As all things rise and fall .
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I do that too— With reservations.
I find more varied pleasure In understanding: and so find beauty even In this strange dream of yours you call the truth.
Well, I have bored you.
And it's growing late.
For household news—what have you heard, I wonder? You must have heard that Paul was dead, by this time— Of spinal cancer.
Nothing could be done— We found it out too late.
His death has changed me, Deflected much of me that lived as he lived, Saddened me, slowed me down.
Such things will happen, Life is composed of them; and it seems wisdom To see them clearly, meditate upon them, And understand what things flow out of them.
Otherwise, all goes on here much as always.
Why won't you come and see us, in the spring, And bring old times with you?—If you could see me Sitting here by the window, watching Venus Go down behind my neighbor's poplar branches,— Just where you used to sit,—I'm sure you'd come.
This year, they say, the springtime will be early.
Written by Dale Harcombe | Create an image from this poem

Brass Kaleidoscope

 My daughter raises the smooth
 brass kaleidoscope
 and watches as coloured glass slivers
 conspire together.
New worlds create themselves before her eyes.
Garnet spires flirt with sapphire and turquoise.
Topaz and amethyst meet in harmony, a selenic mystery.
A melody of stars singing a tune only she can hear.
Eclectic patterns shiver and shimmer then splinter, sparking off at tangents of tourmaline and jasper.
An image complete in itself.
I had a kaleidoscope once.
Sometimes I still see oblique patterns.
Slowly my daughter turns the wheel, finds a jewelled tapestry to her liking, and hands the kaleidoscope to me.
For a time I see the world she sees and it is good.
*First published LiNQ October 1990
Written by Ruth Stone | Create an image from this poem

Always on the Train

Writing poems about writing poems
is like rolling bales of hay in Texas.
Nothing but the horizon to stop you.
But consider the railroad's edge of metal trash; bird perches, miles of telephone wires.
What is so innocent as grazing cattle? If you think about it, it turns into words.
Trash is so cheerful; flying up like grasshoppers in front of the reaper.
The dust devil whirls it aloft; bronze candy wrappers, squares of clear plastic--windows on a house of air.
Below the weedy edge in last year's mat, red and silver beer cans.
In bits blown equally everywhere, the gaiety of flying paper and the black high flung patterns of flocking birds.
Written by Sidney Lanier | Create an image from this poem

A Florida Ghost

 Down mildest shores of milk-white sand,
By cape and fair Floridian bay,
Twixt billowy pines -- a surf asleep on land --
And the great Gulf at play,

Past far-off palms that filmed to nought,
Or in and out the cunning keys
That laced the land like fragile patterns wrought
To edge old broideries,

The sail sighed on all day for joy,
The prow each pouting wave did leave
All smile and song, with sheen and ripple coy,
Till the dusk diver Eve

Brought up from out the brimming East
The oval moon, a perfect pearl.
In that large lustre all our haste surceased, The sail seemed fain to furl, The silent steersman landward turned, And ship and shore set breast to breast.
Under a palm wherethrough a planet burned We ate, and sank to rest.
But soon from sleep's dear death (it seemed) I rose and strolled along the sea Down silver distances that faintly gleamed On to infinity.
Till suddenly I paused, for lo! A shape (from whence I ne'er divined) Appeared before me, pacing to and fro, With head far down inclined.
`A wraith' (I thought) `that walks the shore To solve some old perplexity.
' Full heavy hung the draggled gown he wore; His hair flew all awry.
He waited not (as ghosts oft use) To be `dearheaven'd!' and `oh'd!' But briskly said: "Good-evenin'; what's the news? Consumption? After boa'd? "Or mebbe you're intendin' of Investments? Orange-plantin'? Pine? Hotel? or Sanitarium? What above This yea'th CAN be your line? "Speakin' of sanitariums, now, Jest look 'ee here, my friend: I know a little story, -- well, I swow, Wait till you hear the end! "Some year or more ago, I s'pose, I roamed from Maine to Floridy, And, -- see where them Palmettos grows? I bought that little key, "Cal'latin' for to build right off A c'lossal sanitarium: Big surf! Gulf breeze! Jest death upon a cough! -- I run it high, to hum! "Well, sir, I went to work in style: Bought me a steamboat, loaded it With my hotel (pyazers more'n a mile!) Already framed and fit, "Insured 'em, fetched 'em safe around, Put up my buildin', moored my boat, COM-plete! then went to bed and slept as sound As if I'd paid a note.
"Now on that very night a squall, Cum up from some'eres -- some bad place! An' blowed an' tore an' reared an' pitched an' all, -- I had to run a race "Right out o' bed from that hotel An' git to yonder risin' ground, For, 'twixt the sea that riz and rain that fell, I pooty nigh was drowned! "An' thar I stood till mornin' cum, Right on yon little knoll of sand, FreQUENTly wishin' I had stayed to hum Fur from this tarnal land.
"When mornin' cum, I took a good Long look, and -- well, sir, sure's I'm ME -- That boat laid right whar that hotel had stood, And HIT sailed out to sea! "No: I'll not keep you: good-bye, friend.
Don't think about it much, -- preehaps Your brain might git see-sawin', end for end, Like them asylum chaps, "For here *I* walk, forevermore, A-tryin' to make it gee, How one same wind could blow my ship to shore And my hotel to sea!"

Book: Shattered Sighs