Shit is disgusting and horrible. A lot of people and things are disgusting and horrible, and I want to be a nice person, and I am. When you are speaking about rejected people whose suffering makes them disgusting, you are speaking about shit. I do not mean that we should all eat shit and love what we can’t help rejecting. I am saying that I tried to do that, just to see if it was possible.It’s not possible.
You do not know how much they mean to me, my friends,And how, how rare and strange it is, to findIn a life composed so much, so much of odds and ends,(For indeed I do not love it ... you knew? you are not blind! How keen you are!)To find a friend who has these qualities,Who has, and givesThose qualities upon which friendship lives.How much it means that I say this to you-Without these friendships-life, what cauchemar!
nothing which we are to perceive in this world equals the power of your intense fragility:whose texture compels me with the colour of its countries, rendering death and forever with each breathing (i do not know what it is about you that closes and opens;only something in me understands the voice of your eyes is deeper than all roses) nobody,not even the rain, has such small hands-excerpt of #35 from "100 Selected Poems
Voll Blüten steht der Pfirsichbaum nicht jede wächst zur Frucht sie schimmern hell wie Rosenschaum durch Blau und Wolkenflucht. Wie Blüten geh'n Gedanken auf hundert an jedem Tag -- lass' blühen, lass' dem Ding den Lauf frag' nicht nach dem Ertrag! Es muss auch Spiel und Unschuld sein und Blütenüberfluss sonst wär' die Welt uns viel zu klein und Leben kein Genuss.
Spring, spring! Bytuene Mershe ant Averil, when spray biginneth to spring! When shaws be sheene and swards full fayre, and leaves both large and longe! When the hounds of spring are on winter’s traces, in the spring time, the only pretty ring time, when the birds do sing, hey-ding-a-ding ding, cuckoo, jug-jug, pu-wee, ta-witta-woo! And so on and so on and so on. See almost any poet between the Bronze Age and 1805.
Little WordsWhen you are gone, there is nor bloom nor leaf,Nor singing sea at night, nor silver birds;And I can only stare, and shape my griefIn little words.I cannot conjure loveliness, to drownThe bitter woe that racks my cords apart.The weary pen that sets my sorrow downFeeds at my heart.There is no mercy in the shifting year,No beauty wraps me tenderly about.I turn to little words- so you, my dear,Can spell them out.
evet kimsesizdik ama umudumuz vardıüç ev görsek bir şehir sanıyorduküç güvercin görsek meksika geliyordu aklımızacaddelerde gezmekten hoşlanıyorduk akşamlarıkadınların kocalarını aramasını seviyorduksonra şarap içiyorduk kırmızı yahut beyazbilir bilmez geyikli gece yüzünden
He had not been able to see it in himself, but looking at Hungerford, he was able at least to speculate on the possibility that fear, raw, physical fear, had a kind of gift to give, too. Who but the terrified has heard his own heart pounding, listened to his own stertorous breathing, wishing that heart and lungs would be more quiet, and yet learning in their pulsation the lessons of rhythm and metrics? (Anagrams, p. 80)
Stop this day and night with me and you shall possess the origin of all poems,You shall possess the good of the earth and sun.... there are millions of suns left,You shall no longer take things at second or third hand.... nor look through the eyes of the dead.... nor feed on the spectres in books,You shall not look through my eyes either, nor take things from me,You shall listen to all sides and filter them from yourself.
Recuerdo que algún día yo le hablé de mi río y una como tormenta se agitó en sus estrañas. No sé si fue mi pecho que tembló de recuerdo o si fueron mis ojos que asomaron nostalgias." "I remember a day when I spoke of my river and something like a storm stirred in his being. Was it my breast that trembled with the memory Was it nostalgia that showed through my eyes
Without poets, without artists, men would soon weary of nature's monotony. The sublime idea men have of the universe would collapse with dizzying speed. The order which we find in nature, and which is only an effect of art, would at once vanish. Everything would break up in chaos. There would be no seasons, no civilization, no thought, no humanity; even life would give way, and the impotent void would reign everywhere.
On the beach, at dawn:Four small stones clearlyHugging each other.How many kinds of loveMight there be in the world,And how many formations might they makeAnd who am I everTo imagine I could knowSuch a marvelous business?When the sun brokeIt poured willingly its lightOver the stonesThat did not move, not at all,Just as, to its always generous term,It shed its light on me,My own body that loves, Equally, to hug another body.
So all night long the storm roared on:The morning broke without a sun;In tiny spherule traced with linesOf Nature’s geometric signs,In starry flake, and pellicle,All day the hoary meteor fell;And, when the second morning shone,We looked upon a world unknown,On nothing we could call our own.Around the glistening wonder bentThe blue walls of the firmament,No cloud above, no earth below,—A universe of sky and snow!
What though the radiance which was once so brightBe now for ever taken from my sight,Though nothing can bring back the hourOf splendour in the grass, of glory in the flower;We will grieve not, rather findStrength in what remains behind;In the primal sympathyWhich having been must ever be;In the soothing thoughts that springOut of human suffering;In the faith that looks through death,In years that bring the philosophic mind.
You know what I do? I listen to other people, stumbling about with their half thoughts and half sentences and their clumsy feelings that they can't express, and it hurts me. So I go home and burnish it and polish it and weld it to a rhythmic frame, make the dull colors gleam, mute the garish artificiality to pastels, so it doesn't hurt any more: that's my poem. I know what they want to say, and I say it for them.
