Angel

                                                         Amiens Cathedral

O spirit embodied, but without 

need of body, made without artifice 

by Mind and worked in stone,

what was your Maker thinking of? 

Your face smooth and untroubled 

as a newborn's, the brow cool 

and the eyes blind, one finger
touching the air, most fair of elements. 

All is appearance, you tell us, 

wearing the weight of stone wings,
stone clothes, without complaining. 

Perhaps you, too, once had a flaw— 

a thought, no more than that, 

less than angelic. In a second 

of a second, you were restored 

to innocence by a Maker omniscient
and kind. The thought was gone. 

But you were some place other than
heaven, and changed to stone.

--Elizabeth Spires (1952- ), American poet, professor, and children's book author

Scriptural reference: 1 Thessalonians 4:13-18, Proper 27A

Images: 

Above, Weeping angel, Amiens Cathedral (Notre Dame du Amiens), Nicolas Blasset French architect and sculptor, 1874, the story of which can be found here.

Below, Angel Crying With Hope, Sanda Iliescu, Romanian-American architect, professor, and artist, the story of which can be found here.

Thanatopsis

   To him who in the love of Nature holds
Communion with her visible forms, she speaks
A various language; for his gayer hours
She has a voice of gladness, and a smile
And eloquence of beauty, and she glides
Into his darker musings, with a mild
And healing sympathy, that steals away
Their sharpness, ere he is aware. When thoughts
Of the last bitter hour come like a blight
Over thy spirit, and sad images
Of the stern agony, and shroud, and pall,
And breathless darkness, and the narrow house,
Make thee to shudder, and grow sick at heart;—
Go forth, under the open sky, and list
To Nature’s teachings, while from all around—
Earth and her waters, and the depths of air—
Comes a still voice— Yet a few days, and thee
The all-beholding sun shall see no more
In all his course; nor yet in the cold ground,
Where thy pale form was laid, with many tears,
Nor in the embrace of ocean, shall exist
Thy image. Earth, that nourished thee, shall claim
Thy growth, to be resolved to earth again,
And, lost each human trace, surrendering up
Thine individual being, shalt thou go
To mix for ever with the elements,
To be a brother to the insensible rock
And to the sluggish clod, which the rude swain
Turns with his share, and treads upon. The oak
Shall send his roots abroad, and pierce thy mould.

   Yet not to thine eternal resting-place
Shalt thou retire alone, nor couldst thou wish
Couch more magnificent. Thou shalt lie down
With patriarchs of the infant world—with kings,
The powerful of the earth—the wise, the good,
Fair forms, and hoary seers of ages past,
All in one mighty sepulchre. The hills
Rock-ribbed and ancient as the sun,—the vales
Stretching in pensive quietness between;
The venerable woods—rivers that move
In majesty, and the complaining brooks
That make the meadows green; and, poured round all,
Old Ocean’s gray and melancholy waste,—
Are but the solemn decorations all
Of the great tomb of man. The golden sun,
The planets, all the infinite host of heaven,
Are shining on the sad abodes of death,
Through the still lapse of ages. All that tread
The globe are but a handful to the tribes
That slumber in its bosom.—Take the wings
Of morning, pierce the Barcan wilderness,
Or lose thyself in the continuous woods
Where rolls the Oregon, and hears no sound,
Save his own dashings—yet the dead are there:
And millions in those solitudes, since first
The flight of years began, have laid them down
In their last sleep—the dead reign there alone.
So shalt thou rest, and what if thou withdraw
In silence from the living, and no friend
Take note of thy departure? All that breathe
Will share thy destiny. The gay will laugh
When thou art gone, the solemn brood of care
Plod on, and each one as before will chase
His favorite phantom; yet all these shall leave
Their mirth and their employments, and shall come
And make their bed with thee. As the long train
Of ages glide away, the sons of men,
The youth in life’s green spring, and he who goes
In the full strength of years, matron and maid,
The speechless babe, and the gray-headed man—
Shall one by one be gathered to thy side,
By those, who in their turn shall follow them.
So live, that when thy summons comes to join
The innumerable caravan, which moves
To that mysterious realm, where each shall take
His chamber in the silent halls of death,
Thou go not, like the quarry-slave at night,
Scourged to his dungeon, but, sustained and soothed
By an unfaltering trust, approach thy grave,
Like one who wraps the drapery of his couch
About him, and lies down to pleasant dreams.

-- William Cullen Bryant (1794-1878), poet, lawyer, and editor, premier American poet of his age. this was one of the most popular poems of the mid-19th century. 

The poem's title literally means, "a consideration of death," which is amazing considering this was one of Bryant's first poems, possibly begun when he was 17. A natural argument against the closing lines, which urges one to live so that one faces death in trust of rest and knowledge that we are not alone in death, might be found in Dylan Thomas's "Do Not Go Gentle Into That Good Night." The song "I Will Follow You Into the Dark," by Deathcab for Cutie, also turns upon this idea.

Lovely commentary by Jerry Harp in the Kenyon Review here.

Image: A gravestone in a cemetery in Elsberry, MO.

The Armful

For every parcel I stoop down to seize
I lose some other off my arms and knees,
And the whole pile is slipping, bottles, buns —
Extremes too hard to comprehend at once,
Yet nothing I should care to leave behind.
With all I have to hold with hand and mind
And heart, if need be, I will do my best
To keep their building balanced at my breast.
I crouch down to prevent them as they fall;
Then sit down in the middle of them all.
I had to drop the armful in the road
And try to stack them in a better load.

-- Robert Frost

Scripture reference: Mark 10:37-51, Proper 23 B

Prayers of Commendation from the Church of England

O God, who brought us to birth,
and in whose arms we die,
in our grief and shock contain and comfort us;
embrace us with your love,
give us hope in our confusion
and grace to let go into new life;
through Jesus Christ.
All Amen.

These or other prayers may follow

Lord, we come into your presence to remember N
and to seek your comfort,
for we know that nothing can separate us from your love
and that you support us in our sorrow.
We are sure that the souls of the righteous are with you
and that nothing can harm them.
Although they have died they are in peace.
Give us your strength to rejoice
that you have taken N to be with yourself
where he/she shall no more be in need.
May we find life and peace and perfect joy with him/her in your presence;
through Jesus Christ our Lord.
All Amen.

God of all consolation,
in your unending love and mercy
you turn the darkness of death
into the dawn of new life.
Your Son, by dying for us, conquered death
and, by rising again, restored to us eternal life.
May we then go forward eagerly to meet our redeemer
and, after our life on earth,
be reunited with all our brothers and sisters
in that place where every tear is wiped away
and all things are made new;
through Jesus Christ our Saviour.
All Amen.

Lord, be with us as we open the door.
Come in with us, go out with us.
Do not sleep when we sleep,
but watch over us, protect us and keep us safe,
our only helper and maker.
All Amen.

Black, Poured Directly Into the Wound

Prairie winds blaze through her tumbled belly, and Emmett’s
red yesterdays refuse to rename her any kind of mother.
A pudge-cheeked otherwise, sugar whistler, her boy is
(through the fierce clenching mouth of her memory) a
grays-and-shadows child. Listen. Once she was pretty.
Windy hues goldened her skin. She was pert, brown-faced,
in every wide way the opposite of the raw, screeching thing
chaos has crafted. Now, threaded awkwardly, she tires of the
sorries, the Lawd have mercies. Grief’s damnable tint
is everywhere, darkening days she is no longer aware of.
She is gospel revolving, repeatedly emptied of light, pulled
and caressed, cooed upon by strangers, offered pork and taffy.
Boys in the street stare at her, then avert their eyes, as if she
killed them all, shipped every one into the grips of Delta. She sits,
her chair carefully balanced on hell’s edge, and pays for sanity in
kisses upon the conjured forehead of her son. Beginning with A,
she recites (angry, away, awful) the alphabet of a world gone red.
Coffee scorches her throat as church ladies drift about her room,
black garb sweating their hips, filling cups with tap water, drinking,
drinking in glimpses of her steep undoing. The absence of a black
roomful of boy is measured, again, again. In the clutches of coffee,
red-eyed, Mamie knows their well-meaning murmur. One says She
a mama, still. Once you have a chile, you always a mama. Kisses
in multitudes rain from their dusty Baptist mouths, drowning her.
Sit still, she thinks, til they remember how your boy was killed.
She remembers. Gush and implosion, crushed, slippery, not a boy.
Taffeta and hymnals all these women know, not a son lost and
pulled from the wretched and rumbling Tallahatchie. Mamie, she
of the hollowed womb, is nobody’s mama anymore. She is
tinted echo, barren. Everything about her makes the sound sorry.
The white man’s hands on her child, dangled eye, twanging chaos,
things that she leans on, the only doors that open to let her in.
Faced with days and days of no him, she lets Chicago — windy,
pretty in the ways of the North — console her with its boorish grays.
A hug, more mourners and platters of fat meat. Will she make it through?
Is this how the face slap of sorrow changes the shape of a
mother? All the boys she sees now are laughing, drenched in red.
Emmett, in dreams, sings I am gold. He tells how dry it is, the prairie.

-- Patricia Smith (1955- ), African American poet, mystery author, finalist for the Nobel Prize, twice winner of the Pushcart Prize, and 4-time champion of the National Poetry Slam.

Emmett Till was murdered on this day in 1955.

In Memory of My Dear Grandchild Anne Bradstreet Who Deceased June 20, 1669, Being Three Years and Seven Months Old

With troubled heart and trembling hand I write,

The heavens have changed to sorrow my delight.
How oft with disappointment have I met,
When I on fading things my hopes have set.
Experience might ‘fore this have made me wise,
To value things according to their price.
Was ever stable joy yet found below?
Or perfect bliss without mixture of woe?
I knew she was but as a withering flower,
That’s here today, perhaps gone in an hour;
Like as a bubble, or the brittle glass,
Or like a shadow turning as it was.
More fool then I to look on that was lent
As if mine own, when thus impermanent.
Farewell dear child, thou ne’er shall come to me,
But yet a little while, and I shall go to thee;
Mean time my throbbing heart’s cheered up with this:
Thou with thy Saviour art in endless bliss.

-- Anne Bradstreet (1612-1672), British born American Puritan poet; first woman poet to gain acclaim in the New World and New England. She emigrated to America in 1630 with her father and her husband aboard the Arbella and settled in Ipswich, MA. She bore eight children between 1632-1655. From her book The Tenth Muse Lately Sprung Up in America.

This elegy, one of several she wrote during the catastrophic year of 1669, was written when her namesake grandchild died, and is remarkable for its bitterness indirectly aimed at God, and is representative of her struggle with accepting the Puritan belief that death was merely the passage to eternal joy in Heaven.

Due to the eventual longer lifespans of Puritans in the new World as compared to Europe once the colonies were established, it was said that "New England invented grandparents."

You can find excellent commentary on this poem by Janice Miller Porter here.

The Truth the Dead Know

For my mother, born March 1902, died March 1959
and my father, born February 1900, died June 1959


Gone, I say and walk from church,
refusing the stiff procession to the grave,
letting the dead ride alone in the hearse.
It is June. I am tired of being brave.

We drive to the Cape. I cultivate
myself where the sun gutters from the sky,
where the sea swings in like an iron gate
and we touch. In another country people die.

My darling, the wind falls in like stones
from the whitehearted water and when we touch
we enter touch entirely. No one’s alone.
Men kill for this, or for as much.

And what of the dead? They lie without shoes
in their stone boats. They are more like stone
than the sea would be if it stopped. They refuse
to be blessed, throat, eye and knucklebone.

--Anne Sexton (1928-1974), American Confessional poet and professor who struggled with mental illness and childhood abuse. She took her life at age 46.

Miscarriage

When I was a month pregnant, the great
clots of blood appeared in the pale
green swaying water of the toilet,
Dark red like black in the salty
translucent brine, like forms of life
appearing, jelly-fish with the clear-cut
shapes of things.

That was the only appearance made by that
child, the dark, scalloped shapes
falling slowly. A month later
our son was conceived, and I never went back
to mourn the one who came as far as the
sill with its information: that we could
botch something, you and I. All wrapped in
purple it floated away, like a messenger
put to death for bearing bad news.

--Sharon Olds (1942- ), American poet and professor at NYU, winner of the Pulitzer Prize and the T. S. Eliot prize, from The Dead and the Living (1984). 

To Our Miscarried One, Age Thirty Now

Though I never saw you, only your clouds,

I was afraid of you, of how you differed
from what we had wanted you to be. And it's as if
you waited, then, where such waiting is done,
for when I would look beside me--and here
you are, in the world of forms, where my wifehood
is now, and every action with him,
as if a thousand years from now
you and I are in some antechamber
where the difference between us is of little matter,
you with perhaps not much of a head yet,
dear garden one, you among the shovels
and spades and wafts of beekeeper's shroud
and sky-blue kidskin gloves.
That he left me is not much, compared
to your leaving the earth--you shifting places
on it, and shifting shapes--you threw off your
working clothes of arms and legs,
and moved house, from uterus
to toilet bowl and jointed stem
and sewer out to float the rivers and
bays in painless pieces. And yet
the idea of you has come back to where
I could see you today as a small, impromptu
god of the partial. When I leave for good,
would you hold me in your blue mitt
for the departure hence. I never thought
to see you again, I never thought to seek you.

-- Sharon Olds (1942- ), American poet and professor at NYU, winner of the Pulitzer and T. S. Eliot prize for this volume, Stag's Leap, 2012.

To Our Miscarried One, Age Fifty Now

Every twenty years, I turn 

and address you, not knowing who you were 

or what you were. You had been three months
in utero, when our friend came to visit
with her virus which I caught and you died—or it may be
your inviableness had been conceived with you—
you might have been, all along, going to
last fourteen weeks, though I had felt,
as we lay on the living-room floor, the couch
pushed in front of the door at the pure gold
hour at the core of your big sister’s
nap, that you had taken deep.
I kept my feet up on the couch an hour—there was a
recipe, for a boy, then:
abstain until the egg emerges, then
send the long-tailed whippersnapper, the
boy-making sperm, in, to get there
before the girls, who are slow but if they
get there early can wait. The boy
we conceived a month after you died
made, years later,
an ink X
on a cushion of that sofa, as if to declare
war on sisters and mothers, the oppressors
of the male. Hello, male, or female,
or both, or neither. Hi mystery,
hi matter, hi spirit moving through matter.
Twenty years ago, when your father
left me, I wanted to hold hands with you,
my friend in death, the dead one
I knew best—and not at all—
who had deserted this life or been driven from it,
I your garden, oasis, desert.
And I’d never laid down a stone for you,
you seemed like a byway on the path from your sister
to your brother. What was half-formed
in you, what was partial—how close I could have
felt to you if I had known what a hidden
story I still was to myself. Dear one,
I feel as if now you are my elder, having died—
though without having breathed—so much earlier than I.
By the time I saw you, you were in the water
already, the sacred toilet-water green
of your grave. Let me call you kin, lost one,
let me call you landsman.

-- Sharon Olds (1942- ), American poet and professor at NYU, winner of the Pulitzer Prize, from The Sewanee Review, Fall 2018.

Leaving the Old Gods

I.
The people who watch me hang my coat
on a peg at the office don't even know
about that other life,
the life when there was you, it,
however briefly. To them my body
is a fact casual as the weather.
I could tell them:
That day it rained
the way it rains in the New World.
Leaves struck the window like daggers.
I didn't think about God
but the ones we used to worship
the ones who want your heart still
beating, who load you with gold
and lure you to sleep
deep in the cenote.

II.
A girl, he said, and I nodded
though we couldn't have known.
I would have left him then
for ten thousand pesos.
I don't know what world you inhabit,
swimming there, baby, not-baby,
part of my body, not me,
swept aside like locks of hair
or toenail parings.
It's ten years today
and you who were never alive
pull a face in the leaves
of jacaranda, the only tree
that lives outside my window.
It must be your voice
whistling through the office window,
though I can't understand your words.
Comfort or accusation,
I can't understand your words.

-- Janet McAdams (1957-  ), Scottish, Irish, and Muskogee (Creek) poet, novelist, professor of poetry at Kenyon College, and editor-at-large of the Kenyon Review. From The Island of Lost Luggage, 2001, which received an American Book Award.

Image: Sarah K Reece, "Waiting for You," ink drawing, 2014, found here.

On the Beach at Night

On the beach at night,
Stands a child with her father,
Watching the east, the autumn sky.

Up through the darkness,
While ravening clouds, the burial clouds, in black masses spreading,
Lower sullen and fast athwart and down the sky,
Amid a transparent clear belt of ether yet left in the east,
Ascends large and calm the lord-star Jupiter,
And nigh at hand, only a very little above,
Swim the delicate sisters the Pleiades.

From the beach the child holding the hand of her father,
Those burial-clouds that lower victorious soon to devour all,
Watching, silently weeps.

Weep not, child,
Weep not, my darling,
With these kisses let me remove your tears,
The ravening clouds shall not long be victorious,
They shall not long possess the sky, they devour the stars only in apparition,
Jupiter shall emerge, be patient, watch again another night, the Pleiades shall emerge,
They are immortal, all those stars both silvery and golden shall shine out again,
The great stars and the little ones shall shine out again, they endure,
The vast immortal suns and the long-enduring pensive moons shall again shine.

Then dearest child mournest thou only for Jupiter?
Considerest thou alone the burial of the stars?

Something there is,
(With my lips soothing thee, adding I whisper,
I give thee the first suggestion, the problem and indirection,)
Something there is more immortal even than the stars,
(Many the burials, many the days and nights, passing away,)
Something that shall endure longer even than lustrous Jupiter
Longer than sun or any revolving satellite,
Or the radiant sisters the Pleiades.

--Walt Whitman (1819-1892), one of America's pre-eminent poets, printer, teacher, editor and clerk whose innovations and subject matter both shocked and influenced the writing scene of his lifetime to today.

Lullaby

The upland falls behind the house, 

live and scrub oak, barbed wire 

firmly implanted stringing unlikely 

trees together, terrace by terrace, 

down and down, white rock
gleaming through the green. 

The art of memory, they say, 

is to forget. So sleep now, 

smile and sleep and let me 

think, sleep past the molecules 

of grief, let me kneel and believe,

believe and submit. 

Soon enough you'll know hunger, 

then sweetness, then a sweet 

hunger for what reaches 

out to touch. Soon, too, 

those poor, nerveless times,

those times when you curse 

and strike out at yourself, 

when you count up wrongs 

and feed them as if they were 

one prairie fire. As I sit 

and watch you sleep,
I grow angry, too, 

at my abstraction of your sorrow, 

at its necessity, at the very idea 

of what I cannot speak,
it's so unspeakable.

So sleep and smile,
sleep deep.

--Ralph Burns (1949- ), Oklahoma-born American poet and former professor at the University of Arkansas- Little Rock, from Poetry magazine, November 1988.

Miscarriage

                   1

Down of no comfort, 

pillows for loss, 

white feathers floated
over the hospital road.

One caught the windshield 

and held a moment, 

small flag of hope, then vanished

in the clearer logic of air. 

On the long last grade 

we overtook the flatbed
stacked with shivering geese. 

                   2

In the garden

the com silk browned.

The ears spiraled
plump from the stalks. 

Beneath the husks 

a green worm worked 

its way down,
gorging itself. 

In its wake the offal
of its life hung. 

                   3

I drew stems of daisies 

and zinnias from buckets
in the florist's shop,
pinched one in my numbed hand.

The woman smiled, said 

they'd cheer a room and not 

to worry, the hurt
stem would mend. 

                   4

The evening storm, first 

only sensed, hit so hard 

it was all there was
to see, to hear.

Gradually it slowed, disappeared.
Silhouettes of trees emerged.

Streetlamps glittered
on the housetops. 

We ate what we salvaged
of the corn, and it was sweet. 

Deep in the night the air 

flinched like a fitful sleeper, 

and the rain stored in the trees
fell again.

--Eric Nelson (1952- ), American poet and professor emeritus at Georgia Southern University, from Poetry magazine, October 1988.

Children's Hospital

Our sorrow had neither place nor carrier-away,
and dared not hover over the child
whose breath opened as transom
of a frail house.
Nor could we put our sorrow in the dictionary,
for ghastliness already shot out its own defining
in rags of fired light.
Pigeons would not sleek it
over their dirty coats, nor fly
sorrow against the aviary's sharp fence.
Each day bridgeless, each night birdless,
all the nocturnals needless at the expanse
of our nightwatch.
                                But wake at the moon,
we could, mumbling, are we
in a horror show?—inside of sleep
our shock-white minds caught on reels
where a child's body breaks the heart
and the mother can't know
if she counts as a mother. I don't know
if the child heard
what wept at the bedside,
orderlies snapping smelling salts from chalky bullets
against all the mothers falling,
all the fathers under
what each branch let down:
there's a hidden weight to snow.

--Katie Ford (1975- ), American poet, essayist, and professor. 

Forest Sonnet, Whidbey Island

(For a friend in grief,
for the assurance of resurrection )

 

 

Now, no matter, child, the name:
Sorrow's springs are the same.
No mouth had, no nor mind, expressed
What heart heard of, ghost guessed:
It is the blight man was born for,
It is Margaret you mourn for."
     --from “Spring and Fall,” by Gerard Manley Hopkins



Here Sorrow springs and newborn Spring sorrows;
Their grief resolves in fiddleheads tomorrow.
The mournful poet sees the greening leaf
and vaults ahead to autumn's parting grief....

An anticipatory grief, so-called.
Here last year's leaves lie trodden, branch scraped-bald
From winter's remnant grip. But see, as Spring
Flushes first rosy throat, as thrushes sing

God's glory! Still, larks chirruping, skimming
The winds arise from southern vales, brimming
Their blessings upon the restive, waking Earth.
The forest floor will testify that birth

Sings from subsidence, converting death
God's gravid Spirit-- resurrection's breath.

--This was first published at Episcopal Journal's Speaking to the Soul on August 11, 2022.

Ballata: In Exile at Saran

Because I think not ever to return,
Ballad, to Tuscany,--
Go therefore thou for me
Straight to my lady's face,
Who, of her noble grace,
Shall show thee courtesy.

Thou seekest her in charge of many sighs,
Full of much grief and of exceeding fear.
But have good heed thou come not to the eyes
Of such as are sworn foes to gentle cheer:
For, certes, if this thing should chance,--from her
Thou then couldst only look
For scorn, and such rebuke
As needs must bring me pain;--
Yea, after death again
Tears and fresh agony.

Surely thou knowest, Ballad, how that Death
Assails me, till my life is almost sped:
Thou knowest how my heart still travaileth
Through the sore pangs which in my soul are bred:--
My body being now so nearly dead,
It cannot suffer more.
Then, going, I implore
That this my soul thou take
(Nay, do so for my sake,)
When my heart sets it free.

Ah! Ballad, unto thy dear offices
I do commend my soul, thus trembling;
That thou mayst lead it, for pure piteousness,
Even to that lady's presence whom I sing.
Ah! Ballad, say thou to her, sorrowing,
Whereso thou meet her then:--
"This thy poor handmaiden
Is come, nor will be gone,
Being parted now from one
Who served Love painfully.'

Thou also, thou bewildered voice and weak,
That goest forth in tears from my grieved heart,
Shalt, with my soul and with this ballad, speak
Of my dead mind, when thou dost hence depart,
Unto that lady (piteous as thou art!)
Who is so calm and bright,
It shall be deep delight
To feel her presence there.
And thou, Soul, worship her
Still in her purity.


--Guido Cavalcanti (1255-1300) Italian (Florentine) poet, friend and influence of Dante Alighieri, translated into English by Dante Gabriel Rosetti

The opening lines of this poem influenced T. S. Eliot in his poem, "Ash Wednesday."

The Owl

Downhill I came, hungry, and yet not starved;
Cold, yet had heat within me that was proof
Against the North wind; tired, yet so that rest
Had seemed the sweetest thing under a roof.

Then at the inn I had food, fire, and rest,
Knowing how hungry, cold, and tired was I.
All of the night was quite barred out except
An owl's cry, a most melancholy cry

Shaken our long and clear upon the hill,
No merry note, nor cute of merriment,
But one telling me what I escaped
And others could not, that night, as in I went.

And salted was my food, and my repose,
Salted and sobered, too, by the bird's voice
Speaking for all who lay under the stars,
Soldiers and poor, unable to rejoice.


--Edward Thomas (1878-1917), English biographer, critic, poet and soldier, killed in the Battle of Arras, Easter Monday, 1917.

Autumn Song

Know'st thou not at the fall of the leaf
How the heart feels a languid grief
Laid on it for a covering,
And how sleep seems a goodly thing
In Autumn at the fall of the leaf? 

And how the swift beat of the brain
Falters because it is in vain,
In Autumn at the fall of the leaf
Knowest thou not? and how the chief
Of joys seems—not to suffer pain? 

Know'st thou not at the fall of the leaf
How the soul feels like a dried sheaf
Bound up at length for harvesting,
And how death seems a comely thing
In Autumn at the fall of the leaf? 

--Dante Gabriel Rosetti (1828-1882), English Romantic poet, artist, and painter

The Widow's Lament in Springtime

Sorrow is my one yard
where the new grass
flames as it has flamed
often before but not
with the cold fire
that closes round me this year.
Thirtyfive years
I lived with my husband. 
The plumtree is white today
with masses of flowers.
Masses of flowers
load the cherry branches 
and color some bushes 
yellow and some red 
but the grief in my heart 
is stronger than they 
for though they were my joy 
formerly, today I notice them 
and turn away forgetting. 
Today my son told me 
that in the meadows, 
at the edge of the heavy woods 
in the distance, he saw 
trees of white flowers. 
I feel that I would like 
to go there 
and fall into those flowers 
and sink into the marsh near them.

--William Carlos Williams (1883-1963), American poet and author