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.

Waking with Russell

Whatever the difference is, it all began

the day we woke up face-to-face like lovers
and his four-day-old smile dawned on him again,
possessed him, till it would not fall or waver;
and I pitched back not my old hard-pressed grin
but his own smile, or one I’d rediscovered.
Dear son, I was mezzo del cammin
and the true path was as lost to me as ever
when you cut in front and lit it as you ran.
See how the true gift never leaves the giver:
returned and redelivered, it rolled on
until the smile poured through us like a river.
How fine, I thought, this waking amongst men!
I kissed your mouth and pledged myself forever.

--Don Paterson (1963- ), Scottish poet, writer musician, and winner of the T. S. Eliot prize.

For a discussion of this poem, see here.

"Mezzo del Cammin" means middle aged and lacking direction.

Adoption

I stitched us together by night 

in the rocking chair, marveled 

at your fingers, the foreign navel, 

memorized the sweep of your eyebrows,
unraveled your language. 

Having accepted the unfamiliar,

I kept watch
for proof of our union. 

Tonight I inhale as I kiss 

your perfect face, moist 

from busy dreaming. Your fragrance 

marks me-that fingerprint
only a parent can read. 

I crawl in beside you, grateful 

and patient, to dip us 

with even breath
in this night's ink.

-- Alison Kolodinsky, American/Canadian poet and translator, from Poetry magazine, June 1992

Image: Katie Page of Colorado, who discovered that the baby girl she was getting ready to adopt was also the biological sister of her newly adopted son,

On the Adoption of Sons: An Anniversary

I stand and watch them, feeling awkward and glad
Like any supernumerary Joseph.
They both are kneeling, the woman and the child,
Their heads together. The closed window makes me
         deaf

But I can see them talking over the bud
Or bug in the summer grass. I watch and love her
For the son I love but never gave her.
She carried him in her prophetic blood

Through ages. And I too suffered the love she suffered
For all the children in all the strangers' houses.
I ached with her meek envy of the mothered
World. And still the little outcast Moses

Lay hidden until one day our telephone
Rang bells from a distant city and sudden flesh
Was made of abstract faith. There we shone
With alarming haloes, standing inside the crèche

And trembling before the baby whose large brown eyes
Accused our ignorance by what he understood.
We saw and marvelled how fingers of this toy-size
Could bless all children with crosses of brotherhood.

Our lilting Ford escaped the city of signs
And fearful joys, and swung him with us home
To Nazareth. But always, always shines
In our known street and house that Bethlehem.

Of course this story, our story, is travesty
And passers-by may joke in fun or guile.
But when we look at them, the authentic three,
They are not laughing, not frowning; we see them
         smile.




--Ernest Sandeen (1909-1997), poet and professor at the University of Notre Dame, from Poetry magazine, February 1955

The Pool

Are you alive?
I touch you.
You quiver like a sea-fish.
I cover you with my net.
What are you—banded one?

-- H. D. (Hilda Doolittle) (1886-1961), American poet, novelist, essayist, and translator.; LGBTQ pioneer. This poem was written while she was expecting her first child with husband Richard Aldington.

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 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.

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.

Mama's Promise

I have no answer to the blank inequity
of a four-year-old dying of cancer.
I saw her on t.v. and wept
with my mouth full of meatloaf.

I constantly flash on disasters now;
red lights shout Warning. Danger.
everywhere I look.
I buckle him in, but what if a car
with a grille like a sharkbite
roared up out of the road?
I feed him square meals
but what if the fist of his heart
should simply fall open?
I carried him safely
as long as I could,
but now he's a runaway
on the dangerous highway.
Warning. Danger.
I've started to pray.

But the dangerous highway
curves through blue evenings
when I hold his yielding hand
and snip his miniscule nails
with my vicious-looking scissors.
I carry him around
like an egg in a spoon,
and I remember a porcelain fawn,
a best friend's trust,
my broken faith in myself.
It's not my grace that keeps me erect
as the sidewalk clatters downhill
under my rollerskate wheels.

Sometimes I lie awake
troubled by this thought:
It's not so simple to give a child birth;
you also have to give it death,
the jealous fairy's christening gift.

I've always pictured my own death
as a closed door,
a black room,
a breathless leap from the mountain top
with time to throw out my arms, lift my head,
and see, in the instant my heart stops,
a whole galaxy of blue.
I imagined I'd forget,
in the cessation of feeling,
while the guilt of my lifetime floated away
like a nylon nightgown,
and that I'd fall into clean, fresh forgiveness.

Ah, but the death I've given away
is more mine than the one I've kept:
from my hand the poisoned apple,
from my bow the mistletoe dart.

Then I think of Mama,
her bountiful breasts.
When I was a child, I really swear,
Mama's kisses could heal.
I remember her promise,
and whisper it over my sweet son's sleep:

     When you float to the bottom, child,
     like a mote down a sunbeam,
     you'll see me from a trillion miles away:
     my eyes looking up to you,
     my arms outstretched for you like night.

-- Marilyn Nelson (1947- ), African American poet, translator, children's and young adult author, professor, and Poet Laureate of Connecticut 2001-2006.

Image: detail from Detroit Industry mural, Diego Rivera, 1932-33, painted as Rivera and Frida Kahlo suffered a series of miscarriages

Beatitudes

1.
My child wants to know if the mountains really cowered.
“How do you know when a sea or a river is afraid?
How do you know when the sky is thinking yes or no?

And why did Adam say yes—Did he know that
all the other creatures refused? Was he arrogant
or just ignorant? Was he God’s last choice?”

2.
“Did you really have a party the day the dictator died?
And you had a cake decorated with all the flags?
Did you think his death will fix everything?

Why did we spend all that time there?
Why couldn’t we just stay here?
Isn’t this our country too?

And all these people fleeing and drowning,
what are they hoping for? Whose fault is it?
How long must we wait for things to improve?”

3.
She speaks to me in our language
in front of her friends, to share a secret,
or—cool and beaming—to show off.

I wonder how long it will last, this pride,
this intimacy. Sometimes she puts her arm
next to mine and tells me I have the lighter skin.

“Why are you doing this,” I ask.
But she doesn’t point to the flag
or say, “It’s the way of the world.”

Instead she tells me not to worry, that she is “the most
kid kid in my class, the least mature one, Baba!”
Not all kinds of wisdom console, I tell her.

Then I begin to think of words she’ll soon hear
that can make her wish she wasn’t who she is.
Lead me to virtue, O love, through the smoke of despair.

4.
“Let’s walk through the woods,” she tells me.
“Let’s walk by the rocky shore at sunrise.”
“Let’s walk through the clover fields at noon.”

In the rainforest she is silent, mesmerized.
She’d never prayed—we never taught her—
but she seemed to then, eyes alert with joy.

She points to a chameleon the size of a beetle,
teaches me the names of flowers and trees,
insects we can eat if we’re ever lost here.

“I’m teaching you how to entrust the world
to me,” she says. “You don’t have to live
forever to shield me from it.”

--Khaled Mattawa (1964- ), Libyan-born American poet and translator or Arabic poetry.

Scriptural reference: Matthew 5:1-12, 4 Epiphany A

September, the First Day of School

I

My child and I hold hands on the way to school,
And when I leave him at the first-grade door
He cries a little but is brave; he does
Let go. My selfish tears remind me how
I cried before that door a life ago.
I may have had a hard time letting go.
Each fall the children must endure together
What every child also endures alone:
Learning the alphabet, the integers,
Three dozen bits and pieces of a stuff
So arbitrary, so peremptory,
That worlds invisible and visible
Bow down before it, as in Joseph's dream
The sheaves bowed down and then the stars bowed down
Before the dreaming of a little boy.
That dream got him such hatred of his brothers
As cost the greater part of life to mend,
And yet great kindness came of it in the end.

II

A school is where they grind the grain of thought,
And grind the children who must mind the thought.
It may be those two grindings are but one,
As from the alphabet come Shakespeare's Plays,
As from the integers comes Euler's Law,
As from the whole, inseperably, the lives,
The shrunken lives that have not been set free
By law or by poetic phantasy.
But may they be. My child has disappeared
Behind the schoolroom door. And should I live
To see his coming forth, a life away,
I know my hope, but do not know its form
Nor hope to know it. May the fathers he finds
Among his teachers have a care of him
More than his father could. How that will look
I do not know, I do not need to know.
Even our tears belong to ritual.
But may great kindness come of it in the end.

-- Howard Nemerov (1920-1991) American poet, two time poet laureate of the United States (1963-1964 and 1988-1990) and professor at Washington University in St. Louis.

Advent

Wind whistling, as it does
in winter, and I think
nothing of it until

it snaps a shutter off
her bedroom window, spins
it over the roof and down

to crash on the deck in back,
like something out of Oz.
We look up, stunned—then glad

to be safe and have a story,
characters in a fable
we only half-believe.

Look, in my surprise
I somehow split a wall,
the last one in the house

we’re making of gingerbread.
We’ll have to improvise:
prop the two halves forward

like an open double door
and with a tube of icing
cement them to the floor.

Five days until Christmas,
and the house cannot be closed.
When she peers into the cold

interior we’ve exposed,
she half-expects to find
three magi in the manger,

a mother and her child.
She half-expects to read
on tablets of gingerbread

a line or two of Scripture,
as she has every morning
inside a dated shutter

on her Advent calendar.
She takes it from the mantel
and coaxes one fingertip

under the perforation,
as if her future hinges
on not tearing off the flap

under which a thumbnail picture
by Raphael or Giorgione,
Hans Memling or David

of apses, niches, archways,
cradles a smaller scene
of a mother and her child,

of the lidded jewel-box
of Mary’s downcast eyes.
Flee into Egypt, cries

the angel of the Lord
to Joseph in a dream,
for Herod will seek the young

child to destroy him. While
she works to tile the roof
with shingled peppermints,

I wash my sugared hands
and step out to the deck
to lug the shutter in,

a page torn from a book
still blank for the two of us,

a mother and her child.

-- Mary Jo Salter (1954- ), American poet, editor, playwright, and lyricist

Advent

Wind whistling, as it does 
in winter, and I think 
nothing of it until

it snaps a shutter off
her bedroom window, spins
it over the roof and down

to crash on the deck in back,
like something out of Oz.
We look up, stunned—then glad

to be safe and have a story,
characters in a fable
we only half-believe.

Look, in my surprise
I somehow split a wall,
the last one in the house

we’re making of gingerbread.
We’ll have to improvise:
prop the two halves forward

like an open double door
and with a tube of icing
cement them to the floor.

Five days until Christmas, 
and the house cannot be closed.
When she peers into the cold

interior we’ve exposed,
she half-expects to find
three magi in the manger,

a mother and her child.
She half-expects to read
on tablets of gingerbread

a line or two of Scripture, 
 as she has every morning
inside a dated shutter

on her Advent calendar.
She takes it from the mantel
and coaxes one fingertip

under the perforation,
as if her future hinges
on not tearing off the flap

under which a thumbnail picture
by Raphael or Giorgione,
Hans Memling or David

of apses, niches, archways,
cradles a smaller scene
of a mother and her child,

of the lidded jewel-box
of Mary’s downcast eyes.
Flee into Egypt, cries

the angel of the Lord
to Joseph in a dream,
for Herod will seek the young

child to destroy him. While
she works to tile the roof
with shingled peppermints,

I wash my sugared hands
and step out to the deck
to lug the shutter in,

a page torn from a book
still blank for the two of us,
a mother and her child.

--Mary Jo Salter (1954- ),  American poet, editor of the Norton Anthology of Poetry, and essayist,  from Open Shutters: Poems (New York: Alfred A. Knopf, 2003)

On Children

And a woman who held a babe against her bosom said, Speak to us of children.

And he said:

Your children are not your children.
They are the sons and daughters of Life's longing for itself.
They come through you but not from you,
And though they are with you yet they belong not to you.
You may give them your love but not your thoughts
For they have their own thoughts.
You may house their bodies but not their souls
For their souls dwell in the house of tomorrow, which you cannot visit, even in your dreams.
You may strive to be like them, but seek not to make them like you.
For life goes not backward nor tarries with yesterday.
You are the bows from which your children as living arrows are sent forth.
The archer sees the mark upon the path of the infinite, and He bends you with His might that his arrows may go swift and far.
Let your bending in the archer's hand be for gladness;
He also loves the bow that is stable.

--Khalil Gibran (1883-1931), Lebanese-American artist, painter, writer, and poet, from The Prophet, 1923

Magnificat

THIS is Christ's birthday: long ago
He lay upon His Mother's knee,
Who kissed and blessed Him soft and low--
God's gift to her, as you to me.

My baby dear, my little one,
The love that rocks this cradling breast
Is such as Mary gave her Son:
She was more honoured, not more blest.

He smiled as you smile: not more sweet
Than your eyes were those eyes of His,
And just such little hands and feet
As yours Our Lady used to kiss.

The world's desire that Mother bore:
She held a King upon her knee:
O King of all my world, and more
Than all the world's desire to me!

I thank God on the Christmas morn,
For He has given me all things good:
This body which a child has borne,
This breast, made holy for his food.

High in high heaven Our Lady's throne
Beside her Son's stands up apart:
I sit on heaven's steps alone
And hold my king against my heart.

Across dark depths she hears your cry;
She sees your smile, through worlds of blue
Who was a mother, even as I,
And loved her Child, as I love you.

And to her heart my babe is dear,
Because she bore the Babe Divine,
And all my soul to hers draws near,
And loves Him for the sake of mine!

--Edith Nesbit (1858-1924), English poet

Image: Choctaw Madonna and Child, icon, by Fr. John Giuliani

Only a Curl

I.
FRIENDS of faces unknown and a land
Unvisited over the sea,
Who tell me how lonely you stand
With a single gold curl in the hand
Held up to be looked at by me, —

II.
While you ask me to ponder and say
What a father and mother can do,
With the bright fellow-locks put away
Out of reach, beyond kiss, in the clay
Where the violets press nearer than you. 

II.
Shall I speak like a poet, or run
Into weak woman's tears for relief ?
Oh, children ! — I never lost one, —
Yet my arm 's round my own little son,
And Love knows the secret of Grief.

IV.
And I feel what it must be and is,
When God draws a new angel so
Through the house of a man up to His,
With a murmur of music, you miss,
And a rapture of light, you forgo.

V.
How you think, staring on at the door,
Where the face of your angel flashed in,
That its brightness, familiar before,
Burns off from you ever the more
For the dark of your sorrow and sin.

VI.
God lent him and takes him,' you sigh ; —
Nay, there let me break with your pain :
God 's generous in giving, say I, —
And the thing which He gives,
I deny That He ever can take back again.

VII.
He gives what He gives. I appeal
To all who bear babes — in the hour
When the veil of the body we feel
Rent round us, — while torments reveal
The motherhood's advent in power,

VIII.
And the babe cries ! — has each of us known
By apocalypse (God being there
Full in nature) the child is our own,
Life of life, love of love, moan of moan,
Through all changes, all times, everywhere.

IX.
He 's ours and for ever. Believe,
O father ! — O mother, look back
To the first love's assurance. To give
Means with God not to tempt or deceive
With a cup thrust in Benjamin's sack.

X.
He gives what He gives. Be content !
He resumes nothing given, — be sure !
God lend ? Where the usurers lent
In His temple, indignant He went
And scourged away all those impure.

XI.
He lends not ; but gives to the end,
As He loves to the end. If it seem
That He draws back a gift, comprehend
'Tis to add to it rather, — amend,
And finish it up to your dream, —

XII.
Or keep, — as a mother will toys
Too costly, though given by herself,
Till the room shall be stiller from noise,
And the children more fit for such joys,
Kept over their heads on the shelf.

XIII.
So look up, friends ! you, who indeed
Have possessed in your house a sweet piece
Of the Heaven which men strive for, must need
Be more earnest than others are,—speed
Where they loiter, persist where they cease.

XIV.
You know how one angel smiles there.
Then weep not. 'Tis easy for you
To be drawn by a single gold hair
Of that curl, from earth's storm and despair,
To the safe place above us. Adieu.

--Elizabeth Barrett Browning (1806-1861), English poet and writer

September, the First Day of School

I
My child and I hold hands on the way to school,
And when I leave him at the first-grade door
He cries a little but is brave; he does
Let go. My selfish tears remind me how
I cried before that door a life ago.
I may have had a hard time letting go.

Each fall the children must endure together
What every child also endures alone:
Learning the alphabet, the integers,
Three dozen bits and pieces of a stuff
So arbitrary, so peremptory,
That worlds invisible and visible

Bow down before it, as in Joseph's dream
The sheaves bowed down and then the stars bowed down
Before the dreaming of a little boy.
That dream got him such hatred of his brothers
As cost the greater part of life to mend,
And yet great kindness came of it in the end.

II
A school is where they grind the grain of thought,
And grind the children who must mind the thought.
It may be those two grindings are but one,
As from the alphabet come Shakespeare's Plays,
As from the integers comes Euler's Law,
As from the whole, inseperably, the lives,

The shrunken lives that have not been set free
By law or by poetic phantasy.
But may they be. My child has disappeared
Behind the schoolroom door. And should I live
To see his coming forth, a life away,
I know my hope, but do not know its form

Nor hope to know it. May the fathers he finds
Among his teachers have a care of him
More than his father could. How that will look
I do not know, I do not need to know.
Even our tears belong to ritual.
But may great kindness come of it in the end.

--Howard Nemerov (1920-1991), US poet laureate 1963-1964 and 1988-1990

Invocation to Convince a Baby Already Twelve Days Overdue to Come Out of the Womb

It's May. This is the month wild with choices.
You can rush into the strolling sunshine
to join forsythia bursting like popcorn,
and weeping cherry, and the woodthrush whose song
pulsed in southlight this morning.

Come with your hands open or shut.
Come with them slippery from blood.
Don't be afraid. Only slide down a cascade of water.
Come with your eyes azure as a piece of sky.
Or come with eyes a dark complication of gray.

Come trailing the leftover placenta.
Come with vernix like wax over pale new cheese.
Come with no clothes but the color rose
which quickens your flesh.
Come skinny or fat.

Come with hair black as a grand piano.
The count is up now, the game is over.
Come home to this small room.
You'll be as free
and as bound as the star that's framed

tonight in the window above your empty crib.

--Jeanne Murray Walker (1944- ), American poet and playwright, from Poetry magazine, May 1987, p. 92



On this day, 24 years ago, my firstborn was officially past her due date.  She would have to be induced 8 days later.

A Prayer for my Daughter

Once more the storm is howling, and half hid
Under this cradle-hood and coverlid
My child sleeps on. There is no obstacle
But Gregory’s wood and one bare hill
Whereby the haystack- and roof-levelling wind,
Bred on the Atlantic, can be stayed;
And for an hour I have walked and prayed
Because of the great gloom that is in my mind.

I have walked and prayed for this young child an hour
And heard the sea-wind scream upon the tower,
And under the arches of the bridge, and scream
In the elms above the flooded stream;
Imagining in excited reverie
That the future years had come,
Dancing to a frenzied drum,
Out of the murderous innocence of the sea.

May she be granted beauty and yet not
Beauty to make a stranger’s eye distraught,
Or hers before a looking-glass, for such,
Being made beautiful overmuch,
Consider beauty a sufficient end,
Lose natural kindness and maybe
The heart-revealing intimacy
That chooses right, and never find a friend.

Helen being chosen found life flat and dull
And later had much trouble from a fool,
While that great Queen, that rose out of the spray,
Being fatherless could have her way
Yet chose a bandy-leggèd smith for man.
It’s certain that fine women eat
A crazy salad with their meat
Whereby the Horn of Plenty is undone.

In courtesy I’d have her chiefly learned;
Hearts are not had as a gift but hearts are earned
By those that are not entirely beautiful;
Yet many, that have played the fool
For beauty’s very self, has charm made wise,
And many a poor man that has roved,
Loved and thought himself beloved,
From a glad kindness cannot take his eyes.

May she become a flourishing hidden tree
That all her thoughts may like the linnet be,
And have no business but dispensing round
Their magnanimities of sound,
Nor but in merriment begin a chase,
Nor but in merriment a quarrel.
O may she live like some green laurel
Rooted in one dear perpetual place.

My mind, because the minds that I have loved,
The sort of beauty that I have approved,
Prosper but little, has dried up of late,
Yet knows that to be choked with hate
May well be of all evil chances chief.
If there’s no hatred in a mind
Assault and battery of the wind
Can never tear the linnet from the leaf.

An intellectual hatred is the worst,
So let her think opinions are accursed.
Have I not seen the loveliest woman born
Out of the mouth of Plenty’s horn,
Because of her opinionated mind
Barter that horn and every good
By quiet natures understood
For an old bellows full of angry wind?

Considering that, all hatred driven hence,
The soul recovers radical innocence
And learns at last that it is self-delighting,
Self-appeasing, self-affrighting,
And that its own sweet will is Heaven’s will;
She can, though every face should scowl
And every windy quarter howl
Or every bellows burst, be happy still.

And may her bridegroom bring her to a house
Where all’s accustomed, ceremonious;
For arrogance and hatred are the wares
Peddled in the thoroughfares.
How but in custom and in ceremony
Are innocence and beauty born?
Ceremony’s a name for the rich horn,
And custom for the spreading laurel tree.

--William Butler Yeats (1865-1939), Irish poet and nationalist