Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore —
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
“’ Tis some visitor,” I muttered, “tapping at my chamber door —
Only this and nothing more.”
Don't worry if your job is small,
And your rewards are few.
Remember that the mighty oak,
Was once a nut like you.
If you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you,
But make allowance for their doubting too;
If you can wait and not be tired by waiting,
Or being lied about, don’ t deal in lies,
Or being hated, don’ t give way to hating,
And yet don’ t look too good, nor talk too wise:
Time does not bring relief; you all have lied
Who told me time would ease me of my pain!
I miss him in the weeping of the rain;
I want him at the shrinking of the tide;
The old snows melt from every mountain-side,
And last year’ s leaves are smoke in every lane;
But last year’ s bitter loving must remain
Heaped on my heart, and my old thoughts abide.
I am not resigned to the shutting away of loving hearts in the hard ground.
So it is, and so it will be, for so it has been, time out of mind:
Into the darkness they go, the wise and the lovely. Crowned
With lilies and with laurel they go; but I am not resigned.
Lovers and thinkers, into the earth with you.
Be one with the dull, the indiscriminate dust.
A fragment of what you felt, of what you knew,
A formula, a phrase remains, — but the best is lost.
I know what my heart is like
Since your love died:
It is like a hollow ledge
Holding a little pool
Left there by the tide,
A little tepid pool,
Drying inward from the edge.
To what purpose, April, do you return again?
Beauty is not enough.
You can no longer quiet me with the redness
Of little leaves opening stickily.
I know what I know.
The sun is hot on my neck as I observe
The spikes of the crocus.
The smell of the earth is good.
It is apparent that there is no death.
But what does that signify?
Not only under ground are the brains of men
Eaten by maggots.
Life in itself
Is nothing,
An empty cup, a flight of uncarpeted stairs.
“Son,” said my mother,
When I was knee-high,
“You’ ve need of clothes to cover you,
And not a rag have I.
“There’ s nothing in the house
To make a boy breeches,
Nor shears to cut a cloth with
Nor thread to take stitches.
“There’ s nothing in the house
But a loaf-end of rye,
And a harp with a woman’ s head
Nobody will buy,”
And she began to cry.
That was in the early fall.
When came the late fall,
“Son,” she said, “the sight of you
Makes your mother’ s blood crawl, –
Dear one, the sea smells of nostalgia. We’ re beached and bloated, lie
on shell sand, oil rigs nowhere seen. It’ s Long Island, and the weather
is fine. What to disturb in the heart of a man?
A boy is not a body. A boy is a walk.
Shed the machine.
Must be entirely flesh to fight.
Must be strategy instead of filling.
Our eye goes past the hieroglyphic tree to the swimmer
carving a wake in the water. And almost to the railroad bridge
from which the swimmer might have dived. Then, as though
come to the end of its tether,
our gaze returns, pulling toward the blemish
on the surface of the print. An L-shaped chemical dribble,
it sabotages the scene’ s transparence
and siphons off its easy appeal.
At the same time, the blemish
joins together the realms
of seer and swimmer
in our experience of plunging
into and out of the image.
