When the spent sun throws up its rays on cloud And goes down burning into the gulf below, No voice in nature is heard to cry aloud At what has happened. Birds, at least must know It is the change to darkness in the sky. Murmuring something quiet in her breast, One bird begins to close a faded eye; Or overtaken too far from his nest, Hurrying low above the grove, some waif Swoops just in time to his remembered tree. At most he thinks or twitters softly, 'Safe! Now let the night be dark for all of me. Let the night be too dark for me to see Into the future. Let what will be, be.
You've often heard me say - perhaps too often - that poetry is what is lost in translation. It is also what is lost in interpretation. That little poem means just what it says and it says what it means, nothing less but nothing more.
Oh, give us pleasure in the flowers to-day;
And give us not to think so far away
As the uncertain harvest; keep us here
All simply in the springing of the year.
Oh, give us pleasure in the orchard white,
Like nothing else by day, like ghosts by night;
And make us happy in the happy bees,
The swarm dilating round the perfect trees.
Now no joy but lacks salt That is not dashed with pain And weariness and fault; I crave the stain Of tears, the aftermark Of almost too much love, The sweet of bitter bark And burning clove.
Before I built a wall I'd ask to know What I was walling in or walling out, And to whom I was like to give offence. Something there is that doesn't love a wall, That wants it down.
Why make so much of fragmentary blue In here and there a bird, or butterfly, Or flower, or wearing-stone, or open eye, When heaven presents in sheets the solid hue?
I was under twenty when I deliberately put it to myself one night after good conversation that there are moments when we actually touch in talk what the best writing can only come near. The curse of our book language is not so much that it keeps forever to the same set phrases . . . but that it sounds forever with the same reading tones. We must go out into the vernacular for tones that haven't been brought to book.
Sentences are not different enough to hold the attention unless they are dramatic. No ingenuity of varying structure will do. All that can save them is the speaking tone of voice somehow entangled in the words and fastened to the page for the ear of the imagination. That is all that can save poetry from sing-song, all that can save prose from itself.
It should be of the pleasure of a poem itself to tell how it can. The figure a poem makes. It begins in delight and ends in wisdom. The figure is the same for love.
I have wished a bird would fly away,
And not sing by my house all day;
Have clapped my hands at him from the door
When it seemed as if I could bear no more.
The fault must partly have been in me.
The bird was not to blame for his key.
And of course there must be something wrong
In wanting to silence any song.