Thread: Poem Findings

Percy Bysshe Shelley-Mutability

We are the clouds that veil the midnight moon;
How restlessly they speed, and gleam, and quiver,
Streaking the darkness radiantly!--yet soon
Night closes round, and they are lost forever:

Or like forgotten lyres, whose dissonant strings
Give various response to each varying blast,
To whose frail frame no second motion brings
One mood or modulation like the last.

We rest.--A dream has power to poison sleep;
We rise.--One wandering thought pollutes the day;
We feel, conceive or reason, laugh or weep;
Embrace fond foe, or cast our cares away:

It is the same!--For, be it joy or sorrow,
The path of its departure still is free:
Man's yesterday may ne'er be like his morrow;
Nought may endure but Mutability.




Walt Whitman- Song of the Universal

COME, said the Muse,
Sing me a song no poet yet has chanted,
Sing me the Universal.

In this broad Earth of ours,
Amid the measureless grossness and the slag,
Enclosed and safe within its central heart,
Nestles the seed Perfection.

By every life a share, or more or less,
None born but it is born--conceal'd or unconceal'd, the seed is
waiting.


Lo! keen-eyed, towering Science! 10
As from tall peaks the Modern overlooking,
Successive, absolute fiats issuing.

Yet again, lo! the Soul--above all science;
For it, has History gather'd like a husk around the globe;
For it, the entire star-myriads roll through the sky.

In spiral roads, by long detours,
(As a much-tacking ship upon the sea,)
For it, the partial to the permanent flowing,
For it, the Real to the Ideal tends.

For it, the mystic evolution; 20
Not the right only justified--what we call evil also justified.

Forth from their masks, no matter what,
From the huge, festering trunk--from craft and guile and tears,
Health to emerge, and joy--joy universal.

Out of the bulk, the morbid and the shallow,
Out of the bad majority--the varied, countless frauds of men and
States,

Electric, antiseptic yet--cleaving, suffusing all,
Only the good is universal.


Over the mountain growths, disease and sorrow,
An uncaught bird is ever hovering, hovering, 30
High in the purer, happier air.

From imperfection's murkiest cloud,
Darts always forth one ray of perfect light,
One flash of Heaven's glory.

To fashion's, custom's discord,
To the mad Babel-din, the deafening orgies,
Soothing each lull, a strain is heard, just heard,
From some far shore, the final chorus sounding.


O the blest eyes! the happy hearts!
That see--that know the guiding thread so fine, 40
Along the mighty labyrinth!


And thou, America!
For the Scheme's culmination--its Thought, and its Reality,
For these, (not for thyself,) Thou hast arrived.

Thou too surroundest all;
Embracing, carrying, welcoming all, Thou too, by pathways broad and
new,
To the Ideal tendest.

The measur'd faiths of other lands--the grandeurs of the past,
Are not for Thee--but grandeurs of Thine own;
Deific faiths and amplitudes, absorbing, comprehending all, 50
All eligible to all.

All, all for Immortality!
Love, like the light, silently wrapping all!
Nature's amelioration blessing all!
The blossoms, fruits of ages--orchards divine and certain;
Forms, objects, growths, humanities, to spiritual Images ripening.


Give me, O God, to sing that thought!
Give me--give him or her I love, this quenchless faith
In Thy ensemble. Whatever else withheld, withhold not from us,
Belief in plan of Thee enclosed in Time and Space; 60
Health, peace, salvation universal.

Is it a dream?
Nay, but the lack of it the dream,
And, failing it, life's lore and wealth a dream,
And all the world a dream.

Israfel
Edgar Allan Poe

In Heaven a spirit doth dwell
"Whose heart-strings are a lute";
None sing so wildly well
As the angel Israfel,
And the giddy stars (so legends tell),
Ceasing their hymns, attend the spell
Of his voice, all mute.

Tottering above
In her highest noon,
The enamored moon
Blushes with love,
While, to listen, the red levin
(With the rapid Pleiads, even,
Which were seven,)
Pauses in Heaven.

And they say (the starry choir
And the other listening things)
That Israfeli's fire
Is owing to that lyre
By which he sits and sings-
The trembling living wire
Of those unusual strings.

But the skies that angel trod,
Where deep thoughts are a duty-
Where Love's a grown-up God-
Where the Houri glances are
Imbued with all the beauty
Which we worship in a star.

Therefore thou art not wrong,
Israfeli, who despisest
An unimpassioned song;
To thee the laurels belong,
Best bard, because the wisest!
Merrily live, and long!

The ecstasies above
With thy burning measures suit-
Thy grief, thy joy, thy hate, thy love,
With the fervor of thy lute-
Well may the stars be mute!

Yes, Heaven is thine; but this
Is a world of sweets and sours;
Our flowers are merely–flowers,
And the shadow of thy perfect bliss
Is the sunshine of ours.

If I could dwell
Where Israfel
Hath dwelt, and he where I,
He might not sing so wildly well
A mortal melody,
While a bolder note than this might swell
From my lyre within the sky.


Alone
Edgar Allan Poe

From childhood's hour I have not been
As others were; I have not seen
As others saw; I could not bring
My passions from a common spring.
From the same source I have not taken
My sorrow; I could not awaken
My heart to joy at the same tone;
And all I loved, I loved alone.
Then- in my childhood, in the dawn
Of a most stormy life- was drawn
From every depth of good and ill
The mystery which binds me still:
From the torrent, or the fountain,
From the red cliff of the mountain,
From the sun that round me rolled
In its autumn tint of gold,
From the lightning in the sky
As it passed me flying by,
From the thunder and the storm,
And the cloud that took the form
(When the rest of Heaven was blue)
Of a demon in my view.
-----
I always liked Poe's writing style and his focus on the rhythm of his poems.

This may be my favorite poem, and one of two I can recite from memory. I found a pretty disappointing reading of it on youtube, so I uploaded my own (adequate at best, you've been warned).



The Language
BY ROBERT CREELEY
Locate I
love you some-
where in

teeth and
eyes, bite
it but

take care not
to hurt, you
want so

much so
little. Words
say everything.

I
love you
again,

then what
is emptiness
for. To

fill, fill.
I heard words
and words full

of holes
aching. Speech
is a mouth.

Children of the Night
by Saul Williams

I can't embed links yet (I'm a nooblet) but I'll come back and embed the video soon. Hearing and watching him doesn't really compare to the words on their own, but here is a piece of the poem.

"if you're serving the father
there's no son without mother
parent bodies discover
water bodies and drown

wade me in the water
'til Atlantis is found
on the sea floors of self
I'm starfish and unbound

heard that name of that
mound is stone mountain
underwater volcanoes erupt
water fountains of youth

let's us carnal the equation,
cancel out wind and truth
swirl me beyond sometimes
drench me water proof

let eve drop forever
rain sunsets on my roof
as I sit on the front porch of my sanity
deciphering hambones to
Van Gogh this vanity

oiled egos
canvased and framed
to be reborn unborn unburied unnamed
a reflection through a blood
stained glass window
of souls gone yellow around the edges"

Sweet, I've come of forum age. Here's that video.

Children of the Night by Saul Williams:

In the night, I wish to speak with the angel
to find out if she recognizes my eyes
If she will ask me: do you see Eden?
And I’ll reply: Eden burns
I offer my lips to her, so cold,
As if she does not know desire
and the angel asks: do you feel life?
And I reply: life hurts.”
— Rainer Maria Rilke

A little poem by Margaret Atwood.

You Fit into Me

you fit into me
like a hook into an eye

a fish hook
an open eye

As I lay under the night sky
staring up into star strewn blackness

I

felt


my




mind








fall



into the vastness
that created me


And but for the
warp and weave
of space and time,
plastering my body
against this
dust mote of dust motes,
this earth,
my home


I would have followed

UNDER THE VULTURE-TREE

BY DAVID BOTTOMS

We have all seen them circling pastures,
have looked up from the mouth of a barn, a pine clearing,
the fences of our own backyards, and have stood
amazed by the one slow wing beat, the endless dihedral drift.
But I had never seen so many so close, hundreds,
every limb of the dead oak feathered black,

and I cut the engine, let the river grab the jon boat
and pull it toward the tree.
The black leaves shined, the pink fruit blossomed
red, ugly as a human heart.
Then, as I passed under their dream, I saw for the first time
its soft countenance, the raw fleshy jowls
wrinkled and generous, like the faces of the very old
who have grown to empathize with everything.

And I drifted away from them, slow, on the pull of the river,
reluctant, looking back at their roost,
calling them what I'd never called them, what they are,
those dwarfed transfiguring angels,
who flock to the side of the poisoned fox, the mud turtle
crushed on the shoulder of the road,
who pray over the leaf-graves of the anonymous lost,
with mercy enough to consume us all and give us wings.

John Keats- Last Sonnet

Bright Star, would I were steadfast as thou art--
Not in lone splendour hung aloft the night,
And watching, with eternal lids apart,
Like Nature's patient sleepless Eremite,
The moving waters at their priest-like task
Of pure ablution round earth's human shores,
Or gazing on the new soft-fallen mask
Of snow upon the mountains and the moors--
No--yet still steadfast, still unchangeable,
Pillow'd upon my fair love's ripening breast,
To feel for ever its soft fall and swell,
Awake for ever in a sweet unrest,
Still, still to hear her tender-taken breath,
And so live ever--or else swoon to death.

This is my favorite Yeats poem. He was a background figure of sorts in the Irish independence movement, acquainted socially with many of the leaders but distancing himself from (and generally discounting) their more violent plans. He is thought by some to have had a longstanding crush on "[t]hat woman" in part II. He was quite shocked when his friends followed through on their brave talk with the Easter Rising in 1916, which was brutally quashed by the English and its leaders executed, including Yeats' acquaintances elegized in this poem.

EASTER 1916
W.B. Yeats

I

I have met them at close of day
Coming with vivid faces
From counter or desk among grey
Eighteenth-century houses.
I have passed with a nod of the head
Or polite meaningless words,
Or have lingered awhile and said
Polite meaningless words,
And thought before I had done
Of a mocking tale or a gibe
To please a companion
Around the fire at the club,
Being certain that they and I
But lived where motley is worn:
All changed, changed utterly:
A terrible beauty is born.

II

That woman's days were spent
In ignorant good will,
Her nights in argument
Until her voice grew shrill.
What voice more sweet than hers
When young and beautiful,
She rode to harriers?
This man had kept a school
And rode our winged horse.
This other his helper and friend
Was coming into his force;
He might have won fame in the end,
So sensitive his nature seemed,
So daring and sweet his thought.
This other man I had dreamed
A drunken, vain-glorious lout.
He had done most bitter wrong
To some who are near my heart,
Yet I number him in the song;
He, too, has resigned his part
In the casual comedy;
He, too, has been changed in his turn,
Transformed utterly:
A terrible beauty is born.

III

Hearts with one purpose alone
Through summer and winter, seem
Enchanted to a stone
To trouble the living stream.
The horse that comes from the road,
The rider, the birds that range
From cloud to tumbling cloud,
Minute by minute change.
A shadow of cloud on the stream
Changes minute by minute;
A horse-hoof slides on the brim;
And a horse plashes within it
Where long-legged moor-hens dive
And hens to moor-cocks call.
Minute by minute they live:
The stone's in the midst of all.

IV

Too long a sacrifice
Can make a stone of the heart.
O when may it suffice?
That is heaven's part, our part
To murmur name upon name,
As a mother names her child
When sleep at last has come
On limbs that had run wild.
What is it but nightfall?
No, no, not night but death.
Was it needless death after all?
For England may keep faith
For all that is done and said.
We know their dream; enough
To know they dreamed and are dead.
And what if excess of love
Bewildered them till they died?
I write it out in a verse --
MacDonagh and MacBride
And Connolly and Pearse
Now and in time to be,
Wherever green is worn,
Are changed, changed utterly:
A terrible beauty is born.

These are all excellent!

Here's one by Elizabeth Bishop

The Moose

For Grace Bulmer Bowers


From narrow provinces
of fish and bread and tea,
home of the long tides
where the bay leaves the sea
twice a day and takes
the herrings long rides,

where if the river
enters or retreats
in a wall of brown foam
depends on if it meets
the bay coming in,
the bay not at home;

where, silted red,
sometimes the sun sets
facing a red sea,
and others, veins the flats'
lavender, rich mud
in burning rivulets;

on red, gravelly roads,
down rows of sugar maples,
past clapboard farmhouses
and neat, clapboard churches,
bleached, ridged as clamshells,
past twin silver birches,

through late afternoon
a bus journeys west,
the windshield flashing pink,
pink glancing off of metal,
brushing the dented flank
of blue, beat-up enamel;

down hollows, up rises,
and waits, patient, while
a lone traveller gives
kisses and embraces
to seven relatives
and a collie supervises.

Goodbye to the elms,
to the farm, to the dog.
The bus starts. The light
grows richer; the fog,
shifting, salty, thin,
comes closing in.

Its cold, round crystals
form and slide and settle
in the white hens' feathers,
in gray glazed cabbages,
on the cabbage roses
and lupins like apostles;

the sweet peas cling
to their wet white string
on the whitewashed fences;
bumblebees creep
inside the foxgloves,
and evening commences.

One stop at Bass River.
Then the Economies
Lower, Middle, Upper;
Five Islands, Five Houses,
where a woman shakes a tablecloth
out after supper.

A pale flickering. Gone.
The Tantramar marshes
and the smell of salt hay.
An iron bridge trembles
and a loose plank rattles
but doesn't give way.

On the left, a red light
swims through the dark:
a ship's port lantern.
Two rubber boots show,
illuminated, solemn.
A dog gives one bark.

A woman climbs in
with two market bags,
brisk, freckled, elderly.
"A grand night. Yes, sir,
all the way to Boston."
She regards us amicably.

Moonlight as we enter
the New Brunswick woods,
hairy, scratchy, splintery;
moonlight and mist
caught in them like lamb's wool
on bushes in a pasture.

The passengers lie back.
Snores. Some long sighs.
A dreamy divagation
begins in the night,
a gentle, auditory,
slow hallucination. . . .

In the creakings and noises,
an old conversation
--not concerning us,
but recognizable, somewhere,
back in the bus:
Grandparents' voices

uninterruptedly
talking, in Eternity:
names being mentioned,
things cleared up finally;
what he said, what she said,
who got pensioned;

deaths, deaths and sicknesses;
the year he remarried;
the year (something) happened.
She died in childbirth.
That was the son lost
when the schooner foundered.

He took to drink. Yes.
She went to the bad.
When Amos began to pray
even in the store and
finally the family had
to put him away.

"Yes . . ." that peculiar
affirmative. "Yes . . ."
A sharp, indrawn breath,
half groan, half acceptance,
that means "Life's like that.
We know it (also death)."

Talking the way they talked
in the old featherbed,
peacefully, on and on,
dim lamplight in the hall,
down in the kitchen, the dog
tucked in her shawl.

Now, it's all right now
even to fall asleep
just as on all those nights.
--Suddenly the bus driver
stops with a jolt,
turns off his lights.

A moose has come out of
the impenetrable wood
and stands there, looms, rather,
in the middle of the road.
It approaches; it sniffs at
the bus's hot hood.

Towering, antlerless,
high as a church,
homely as a house
(or, safe as houses).
A man's voice assures us
"Perfectly harmless. . . ."

Some of the passengers
exclaim in whispers,
childishly, softly,
"Sure are big creatures."
"It's awful plain."
"Look! It's a she!"

Taking her time,
she looks the bus over,
grand, otherworldly.
Why, why do we feel
(we all feel) this sweet
sensation of joy?

"Curious creatures,"
says our quiet driver,
rolling his r's.
"Look at that, would you."
Then he shifts gears.
For a moment longer,

by craning backward,
the moose can be seen
on the moonlit macadam;
then there's a dim
smell of moose, an acrid
smell of gasoline.

I <3 villanelles.

Practice, Practice, Practice
by William Matthews

Suburban feral children roam the mall
in lonely clumps. Their ambling, dreamy
private life is social, after all.

By window shopping they might learn to call
in love's or sex's voice. Maybe that's why
suburban feral children roam the mall:

they need to learn to shiver like a bell.
Who masturbates without a fantasy?
Private life is social. After all,

the milky eyes, the roiling breath, the squall
that stains the sheets can briefly pacify
suburban feral children. Roam the mall

again tonight? They will. "Sweetie, you'll call
if you'll be late?" we ask them brightly.
Private life is social, despite all

our homage to the individual.
They aren't bored. If we but thought, we'd know why
suburban feral children roam the mall.
Private life is social, after all.

Suburban feral children in lonely clumps. That cracked me up! Fantastic.

Of course, you probably all know the ultimate villanelle:

The Waking
BY THEODORE ROETHKE

I wake to sleep, and take my waking slow.
I feel my fate in what I cannot fear.
I learn by going where I have to go.

We think by feeling. What is there to know?
I hear my being dance from ear to ear.
I wake to sleep, and take my waking slow.

Of those so close beside me, which are you?
God bless the Ground! I shall walk softly there,
And learn by going where I have to go.

Light takes the Tree; but who can tell us how?
The lowly worm climbs up a winding stair;
I wake to sleep, and take my waking slow.

Great Nature has another thing to do
To you and me; so take the lively air,
And, lovely, learn by going where to go.

This shaking keeps me steady. I should know.
What falls away is always. And is near.
I wake to sleep, and take my waking slow.
I learn by going where I have to go.

This is a poem by 0Thouartthat0 not mine.

You come and go. The doors swing closed
ever more gently, almost without a shudder.
Of all who move through the quiet houses,
you are the quietest.


We become so accustomed to you,
we no longer look up
when your shadow falls over the book we are reading
and makes it glow. For all things
sing you: at times
we just hear them more clearly.


Often when I imagine you
your wholeness cascades into many shapes.
You run like a herd of luminous deer
and I am dark, I am forest.


You are a wheel at which I stand,
whose dark spokes sometimes catch me up,
resolve me nearer to the center.
Then all the work I put my hand to
widens from turn to turn.”


— Rainer Maria Rilke

Every Day You Play

Every day you play with the light of the universe.
Subtle visitor, you arrive in the flower and the water.
You are more than this white head that I hold tightly
as a cluster of fruit, every day, between my hands.

You are like nobody since I love you.
Let me spread you out among yellow garlands.
Who writes your name in letters of smoke among the stars of the south?
Oh let me remember you as you were before you existed.

Suddenly the wind howls and bangs at my shut window.
The sky is a net crammed with shadowy fish.
Here all the winds let go sooner or later, all of them.
The rain takes off her clothes.

The birds go by, fleeing.
The wind. The wind.
I can contend only against the power of men.
The storm whirls dark leaves
and turns loose all the boats that were moored last night to the sky.

You are here. Oh, you do not run away.
You will answer me to the last cry.
Cling to me as though you were frightened.
Even so, at one time a strange shadow ran through your eyes.

Now, now too, little one, you bring me honeysuckle,
and even your breasts smell of it.
While the sad wind goes slaughtering butterflies
I love you, and my happiness bites the plum of your mouth.

How you must have suffered getting accustomed to me,
my savage, solitary soul, my name that sends them all running.
So many times we have seen the morning star burn, kissing our eyes,
and over our heads the gray light unwind in turning fans.

My words rained over you, stroking you.
A long time I have loved the sunned mother-of-pearl of your body.
I go so far as to think that you own the universe.
I will bring you happy flowers from the mountains, bluebells,
dark hazels, and rustic baskets of kisses.
I want
to do with you what spring does with the cherry trees.

Pablo Neruda

Desire

I remember how it used to be
at noon, springtime, the city streets
full of office workers like myself
let loose from the cold
glass buildings on Park and Lex,
the dull swaddling of winter cast off,
almost everyone wanting
everyone else. It was amazing
how most of us contained ourselves,
bringing desire back up
to the office where it existed anyway,
quiet, like a good engine.
I'd linger a bit
with the receptionist,
knock on someone else's open door,
ease myself, by increments,
into the seriousness they paid me for.
Desire was everywhere those years,
so enormous it couldn't be reduced
one person at a time.
I don't remember when it was,
though closer to now than then,
I walked the streets desireless,
my eyes fixed on destination alone.
The beautiful person across from me
on the bus or train
looked like effort, work.
I translated her into pain.
For months I had the clarity
the cynical survive with,
their world so safely small.
Today, walking 57th toward 3rd,
it's all come back,
the interesting, the various,
the conjured life suggested by a glance.
I praise how the body heals itself.
I praise how, finally, it never learns.

Til Ungdommen
Nordahl Grieg
(English translation)

Kringsatt av Fiender,
gå inn i din tid!
Under en blodig storm -
vi deg til strid!

Kanskje du spør i angst,
udekket, åpen:
hva skal jeg kjempe med
hva er mitt våpen?

Her er ditt vern mot vold,
her er ditt sverd:
troen på livet vårt,
menneskets verd.

For all vår fremtids skyld,
søk det og dyrk det,
dø om du må - men:
øk det og styrk det!

Stilt går granatenes
glidende bånd
Stans deres drift mot død
stans dem med ånd!

Krig er forakt for liv.
Fred er å skape.
Kast dine krefter inn:
døden skal tape!

Elsk og berik med drøm
alt stort som var!
Gå mot det ukjente
fravrist det svar.

Ubygde kraftverker,
ukjente stjerner.
Skap dem, med skånet livs
dristige hjerner!

Edelt er mennesket,
jorden er rik!
Finnes her nød og sult
skyldes det svik.

Knus det! I livets navn
skal urett falle.
Solskinn og brød og ånd
eies av alle.

Da synker våpnene
maktesløs ned!
Skaper vi menneskeverd
skaper vi fred.

Den som med høyre arm
bærer en byrde,
dyr og umistelig,
kan ikke myrde.

Dette er løftet vårt
fra bror til bror:
vi vil bli gode mot
menskenes jord.

Vi vil ta vare på
skjønnheten, varmen
som om vi bar et barn
varsomt på armen!




I've always loved this one. Herborg Kråkevik sings it in the video linked below, but excluding paragraphs 7 - 10.

This is a creature on fire with love, but it's still scary since most people think love only looks like one thing, instead of the whole world.
~Brian Andreas

(Art that for me is close enough to poetry.)

Part 2 of Howl by Allen Ginsberg

What sphinx of cement and aluminum bashed open
their skulls and ate up their brains and imagi-
nation?
Moloch! Solitude! Filth! Ugliness! Ashcans and unob
tainable dollars! Children screaming under the
stairways! Boys sobbing in armies! Old men
weeping in the parks!
Moloch! Moloch! Nightmare of Moloch! Moloch the
loveless! Mental Moloch! Moloch the heavy
judger of men!
Moloch the incomprehensible prison! Moloch the
crossbone soulless jailhouse and Congress of
sorrows! Moloch whose buildings are judgment!
Moloch the vast stone of war! Moloch the stun-
ned governments!
Moloch whose mind is pure machinery! Moloch whose
blood is running money! Moloch whose fingers
are ten armies! Moloch whose breast is a canni-
bal dynamo! Moloch whose ear is a smoking
tomb!
Moloch whose eyes are a thousand blind windows!
Moloch whose skyscrapers stand in the long
streets like endless Jehovahs! Moloch whose fac-
tories dream and croak in the fog! Moloch whose
smokestacks and antennae crown the cities!
Moloch whose love is endless oil and stone! Moloch
whose soul is electricity and banks! Moloch
whose poverty is the specter of genius! Moloch
whose fate is a cloud of sexless hydrogen!
Moloch whose name is the Mind!
Moloch in whom I sit lonely! Moloch in whom I dream
Angels! Crazy in Moloch! Cocksucker in
Moloch! Lacklove and manless in Moloch!
Moloch who entered my soul early! Moloch in whom
I am a consciousness without a body! Moloch
who frightened me out of my natural ecstasy!
Moloch whom I abandon! Wake up in Moloch!
Light streaming out of the sky!
Moloch! Moloch! Robot apartments! invisible suburbs!
skeleton treasuries! blind capitals! demonic
industries! spectral nations! invincible mad
houses! granite cocks! monstrous bombs!
They broke their backs lifting Moloch to Heaven! Pave-
ments, trees, radios, tons! lifting the city to
Heaven which exists and is everywhere about
us!
Visions! omens! hallucinations! miracles! ecstasies!
gone down the American river!
Dreams! adorations! illuminations! religions! the whole
boatload of sensitive bullshit!
Breakthroughs! over the river! flips and crucifixions!
gone down the flood! Highs! Epiphanies! De-
spairs! Ten years' animal screams and suicides!
Minds! New loves! Mad generation! down on
the rocks of Time!
Real holy laughter in the river! They saw it all! the
wild eyes! the holy yells! They bade farewell!
They jumped off the roof! to solitude! waving!
carrying flowers! Down to the river! into the
street!

I swear my iPod used to have a thing for Ginsberg reading Howl! on shuffle. I prefer America. "When can I go into the supermarket and buy what I need with my good looks?"

But today a different favorite:



The City Limits
by A. R. Ammons

When you consider the radiance, that it does not withhold
itself but pours its abundance without selection into every
nook and cranny not overhung or hidden; when you consider

that birds' bones make no awful noise against the light but
lie low in the light as in a high testimony; when you consider
the radiance, that it will look into the guiltiest

swervings of the weaving heart and bear itself upon them,
not flinching into disguise or darkening; when you consider
the abundance of such resource as illuminates the glow-blue

bodies and gold-skeined wings of flies swarming the dumped
guts of a natural slaughter or the coil of shit and in no
way winces from its storms of generosity; when you consider

that air or vacuum, snow or shale, squid or wolf, rose or lichen,
each is accepted into as much light as it will take, then
the heart moves roomier, the man stands and looks about, the

leaf does not increase itself above the grass, and the dark
work of the deepest cells is of a tune with May bushes
and fear lit by the breadth of such calmly turns to praise.

I like this poem, though I find it more funny than anything else.
It almost feels true sometimes, but hey, I'm just a woman, right?

The Lady's-Maid's Song By John Hollander

When Adam found his rib was gone
He cursed and sighed and cried and swore
And looked with cold resentment on
The creature God had used it for.
All love's delights were quickly spent
And soon his sorrows multiplied:
He learned to blame his discontent
On something stolen from his side.

And so in every age we find
Each Jack, destroying every Joan,
Divides and conquers womankind
In vengeance for his missing bone.
By day he spins out quaint conceits
With gossip, flattery, and song,
But then at night, between the sheets,
He wrongs the girl to right the wrong.

Though shoulder, bosom, lip, and knee
Are praised in every kind of art.
Here is love's true anatomy:
His rib is gone; he'll have her heart.
So women bear the debt alone
And live eternally distressed,
For though we throw the dog his bone
He wants it back with interest.

The Stranger by Charles Baudelaire

Tell me, enigmatic man, whom do you love best? Your father, your mother, your sister, or your brother?
" I have neither father, nor mother, nor sister, nor brother."
Your friends, then?
"You use a word that until now has had no meaning for me."
Your country?
"I am ignorant of the latitude in which it is situated."
Then Beauty?
"Her I would love willingly, goddess and immortal."
Gold?
"I hate it as you hate your God."
What, then, extraordinary stranger, do you love?
"I love the clouds the clouds that pass yonder the marvellous clouds."