Dead Poets Society

B_Nick4444

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Auguries of Innocence, Robert Blake


To see a world in a grain of sand,
And a heaven in a wild flower,
Hold infinity in the palm of your hand,
And eternity in an hour.

A robin redbreast in a cage
Puts all heaven in a rage.

A dove-house fill'd with doves and pigeons
Shudders hell thro' all its regions.
A dog starv'd at his master's gate
Predicts the ruin of the state.

A horse misused upon the road
Calls to heaven for human blood.
Each outcry of the hunted hare
A fibre from the brain does tear.

A skylark wounded in the wing,
A cherubim does cease to sing.
The game-cock clipt and arm'd for fight
Does the rising sun affright.

Every wolf's and lion's howl
Raises from hell a human soul.

The wild deer, wand'ring here and there,
Keeps the human soul from care.
The lamb misus'd breeds public strife,
And yet forgives the butcher's knife.

The bat that flits at close of eve
Has left the brain that won't believe.
The owl that calls upon the night
Speaks the unbeliever's fright.

He who shall hurt the little wren
Shall never be belov'd by men.
He who the ox to wrath has mov'd
Shall never be by woman lov'd.

The wanton boy that kills the fly
Shall feel the spider's enmity.
He who torments the chafer's sprite
Weaves a bower in endless night.

The caterpillar on the leaf
Repeats to thee thy mother's grief.
Kill not the moth nor butterfly,
For the last judgement draweth nigh.

He who shall train the horse to war
Shall never pass the polar bar.
The beggar's dog and widow's cat,
Feed them and thou wilt grow fat.

The gnat that sings his summer's song
Poison gets from slander's tongue.
The poison of the snake and newt
Is the sweat of envy's foot.

The poison of the honey bee
Is the artist's jealousy.

The prince's robes and beggar's rags
Are toadstools on the miser's bags.
A truth that's told with bad intent
Beats all the lies you can invent.

It is right it should be so;
Man was made for joy and woe;
And when this we rightly know,
Thro' the world we safely go.

Joy and woe are woven fine,
A clothing for the soul divine.
Under every grief and pine
Runs a joy with silken twine.

The babe is more than swaddling bands;
Every farmer understands.
Every tear from every eye
Becomes a babe in eternity;

This is caught by females bright,
And return'd to its own delight.
The bleat, the bark, bellow, and roar,
Are waves that beat on heaven's shore.

The babe that weeps the rod beneath
Writes revenge in realms of death.
The beggar's rags, fluttering in air,
Does to rags the heavens tear.

The soldier, arm'd with sword and gun,
Palsied strikes the summer's sun.
The poor man's farthing is worth more
Than all the gold on Afric's shore.

One mite wrung from the lab'rer's hands
Shall buy and sell the miser's lands;
Or, if protected from on high,
Does that whole nation sell and buy.

He who mocks the infant's faith
Shall be mock'd in age and death.
He who shall teach the child to doubt
The rotting grave shall ne'er get out.

He who respects the infant's faith
Triumphs over hell and death.
The child's toys and the old man's reasons
Are the fruits of the two seasons.

The questioner, who sits so sly,
Shall never know how to reply.
He who replies to words of doubt
Doth put the light of knowledge out.

The strongest poison ever known
Came from Caesar's laurel crown.
Nought can deform the human race
Like to the armour's iron brace.

When gold and gems adorn the plow,
To peaceful arts shall envy bow.
A riddle, or the cricket's cry,
Is to doubt a fit reply.

The emmet's inch and eagle's mile
Make lame philosophy to smile.
He who doubts from what he sees
Will ne'er believe, do what you please.

If the sun and moon should doubt,
They'd immediately go out.
To be in a passion you good may do,
But no good if a passion is in you.

The whore and gambler, by the state
Licensed, build that nation's fate.
The harlot's cry from street to street
Shall weave old England's winding-sheet.

The winner's shout, the loser's curse,
Dance before dead England's hearse.

Every night and every morn
Some to misery are born,
Every morn and every night
Some are born to sweet delight.

Some are born to sweet delight,
Some are born to endless night.

We are led to believe a lie
When we see not thro' the eye,
Which was born in a night to perish in a night,
When the soul slept in beams of light.

God appears, and God is light,
To those poor souls who dwell in night;
But does a human form display
To those who dwell in realms of day.
 

Pecker

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The Road Not Taken
Robert Frost

Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth.

Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same.

And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.

I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I--
I took the one less traveled by,
And that has made all the difference.
 

Pecker

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Old Men
Ogden Nash

People expect old men to die,
They do not really mourn old men.
Old men are different. People look
At them with eyes that wonder when...
People watch with unshocked eyes;
But the old men know when an old man dies.
 

IntoxicatingToxin

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Okay, I can't take it anymore. Here's my favorite poem of all time, from a living poet. I have to share it.

Phenomenal Woman - Maya Angelou

Pretty women wonder where my secret lies.
I'm not cute or built to suit a fashion model's size
But when I start to tell them,
They think I'm telling lies.
I say,
It's in the reach of my arms
The span of my hips,
The stride of my step,
The curl of my lips.
I'm a woman
Phenomenally.
Phenomenal woman,
That's me.

I walk into a room
Just as cool as you please,
And to a man,
The fellows stand or
Fall down on their knees.
Then they swarm around me,
A hive of honey bees.
I say,
It's the fire in my eyes,
And the flash of my teeth,
The swing in my waist,
And the joy in my feet.
I'm a woman
Phenomenally.
Phenomenal woman,
That's me.

Men themselves have wondered
What they see in me.
They try so much
But they can't touch
My inner mystery.
When I try to show them
They say they still can't see.
I say,
It's in the arch of my back,
The sun of my smile,
The ride of my breasts,
The grace of my style.
I'm a woman

Phenomenally.
Phenomenal woman,
That's me.

Now you understand
Just why my head's not bowed.
I don't shout or jump about
Or have to talk real loud.
When you see me passing
It ought to make you proud.
I say,
It's in the click of my heels,
The bend of my hair,
the palm of my hand,
The need of my care,
'Cause I'm a woman
Phenomenally.
Phenomenal woman,
That's me.
 

Northland

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Patterns by Amy Lowell (1874-1925)


I walk down the garden paths,
And all the daffodils
Are blowing, and the bright blue squills.
I walk down the patterned garden-paths
In my stiff, brocaded gown.
With my powdered hair and jewelled fan,
I too am a rare
Pattern. As I wander down
The garden paths.
My dress is richly figured,
And the train
Makes a pink and silver stain
On the gravel, and the thrift
Of the borders.
Just a plate of current fashion,
Tripping by in high-heeled, ribboned shoes.
Not a softness anywhere about me,
Only whalebone and brocade.
And I sink on a seat in the shade
Of a lime tree. For my passion
Wars against the stiff brocade.
The daffodils and squills
Flutter in the breeze
As they please.
And I weep;
For the lime-tree is in blossom
And one small flower has dropped upon my bosom.
And the plashing of waterdrops
In the marble fountain
Comes down the garden-paths.
The dripping never stops.
Underneath my stiffened gown
Is the softness of a woman bathing in a marble basin,
A basin in the midst of hedges grown
So thick, she cannot see her lover hiding,
But she guesses he is near,
And the sliding of the water
Seems the stroking of a dear
Hand upon her.
What is Summer in a fine brocaded gown!
I should like to see it lying in a heap upon the ground.
All the pink and silver crumpled up on the ground.
I would be the pink and silver as I ran along the paths,
And he would stumble after,
Bewildered by my laughter.
I should see the sun flashing from his sword-hilt and the buckles
on his shoes.
I would choose
To lead him in a maze along the patterned paths,
A bright and laughing maze for my heavy-booted lover,
Till he caught me in the shade,
And the buttons of his waistcoat bruised my body as he clasped me,
Aching, melting, unafraid.
With the shadows of the leaves and the sundrops,
And the plopping of the waterdrops,
All about us in the open afternoon --
I am very like to swoon
With the weight of this brocade,
For the sun sifts through the shade.
Underneath the fallen blossom
In my bosom,
Is a letter I have hid.
It was brought to me this morning by a rider from the Duke.
"Madam, we regret to inform you that Lord Hartwell
Died in action Thursday se'nnight."
As I read it in the white, morning sunlight,
The letters squirmed like snakes.
"Any answer, Madam," said my footman.
"No," I told him.
"See that the messenger takes some refreshment.
No, no answer."
And I walked into the garden,
Up and down the patterned paths,
In my stiff, correct brocade.
The blue and yellow flowers stood up proudly in the sun,
Each one.
I stood upright too,
Held rigid to the pattern
By the stiffness of my gown.
Up and down I walked,
Up and down.
In a month he would have been my husband.
In a month, here, underneath this lime,
We would have broke the pattern;
He for me, and I for him,
He as Colonel, I as Lady,
On this shady seat.
He had a whim
That sunlight carried blessing.
And I answered, "It shall be as you have said."
Now he is dead. In Summer and in Winter I shall walk
Up and down
The patterned garden-paths
In my stiff, brocaded gown.
The squills and daffodils
Will give place to pillared roses, and to asters, and to snow.
I shall go
Up and down,
In my gown.
Gorgeously arrayed,
Boned and stayed.
And the softness of my body will be guarded from embrace
By each button, hook, and lace.
For the man who should loose me is dead,
Fighting with the Duke in Flanders,
In a pattern called a war.
Christ! What are patterns for?
 

SpoiledPrincess

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I'm not much of a lover of modern poets, and this isn't in any way a rare poem or one people might not have seen, but it is one I'm very fond of because it shows how the death of one person, trivial in the larger scheme of things, feels to the person that loved them.

Stop All the Clocks - W. H. Auden


Stop all the clocks, cut off the telephone,
Prevent the dog from barking with a juicy bone,
Silence the pianos and with muffled drum
Bring out the coffin, let the mourners come.

Let aeroplanes circle moaning overhead
Scribbling on the sky the message He Is Dead,
Put crepe bows round the white necks of the public doves,
Let the traffic policemen wear black cotton gloves.

He was my North, my South, my East and West,
My working week and my Sunday rest,
My noon, my midnight, my talk, my song;
I thought that love would last for ever:
I was wrong.

The stars are not wanted now: put out every one;
Pack up the moon and dismantle the sun;
Pour away the ocean and sweep up the wood.
For nothing now can ever come to any good.
 

ManlyBanisters

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There once was a man from Nantucket.....

I forget if that was by keats or Yates.:wink:

Do you mean Yeats? :tongue:

This is my favourite if his.

When You Are Old - William Butler Yeats (1865-1939)

When you are old and grey and full of sleep,
And nodding by the fire, take down this book,
And slowly read, and dream of the soft look
Your eyes had once, and of their shadows deep;
How many loved your moments of glad grace,
And loved your beauty with love false or true,
But one man loved the pilgrim Soul in you,
And loved the sorrows of your changing face;
And bending down beside the glowing bars,
Murmur, a little sadly, how Love fled
And paced upon the mountains overhead
And hid his face amid a crowd of stars.
 

Northland

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When You Are Old - William Butler Yeats (1865-1939)

.
Which brings to my mind this humorous one from Lewis Carroll (1832-1898)
You Are Old Father William

'You are old, Father William', the young man said,
'And your hair has become very white;
And yet you incessantly stand on your head --
Do you think, at your age, it is right?'

'In my youth', Father William replied to his son,
'I feared it might injure the brain;
But, now that I'm perfectly sure I have none,
Why, I do it again and again.'

'You are old', said the youth, 'as I mentioned before,
And have grown most uncommonly fat;
Yet you turned a back-somersault in at the door --
Pray, what is the reason of that?'

'In my youth', said the sage, as he shook his grey locks,
'I kept all my limbs very supple
By the use of this ointment - one shilling the box -
Allow me to sell you a couple?'

'You are old', said the youth, 'and your jaws are too weak
For anything tougher than suet;
Yet you finished the goose, with the bones and the beak -
Pray, how did you manage to do it?'

'In my youth', said his father, 'I took to the law,
And argued each case with my wife;
And the muscular strength, which it gave to my jaw,
Has lasted the rest of my life.'

'You are old', said the youth, 'one would hardly suppose
That your eye was as steady as ever;
Yet you balanced an eel on the end of your nose -
What made you so awfully clever?'

'I have answered three questions, and that is enough,'
Said his father, 'don't give yourself airs!
Do you think I can listen all day to such stuff?
Be off, or I'll kick you downstairs!'
 

headbang8

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This Be the Verse

They fuck you up, your mum and dad.
They may not mean to, but they do.
They fill you with the faults they had
And add some extra, just for you.

But they were fucked up in their turn
By fools in old-style hats and coats,
Who half the time were soppy-stern
And half at one another's throats.

Man hands on misery to man.
It deepens like a coastal shelf.
Get out as early as you can,
And don't have any kids yourself.

Philip Larkin

Kind of a sombre verse, but I like the "fools in old-style hats and coats", and "soppy-stern". Describes certain relatives I know, beautifully.
 

jason_els

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More imagery!! YAAAYYY!!!!

In a Station of the Metro

The apparition of these faces in the crowd;
Petals on a wet, black bough.

-Ezra Pound
 

midlifebear

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It's nice to see so many adroit intellects at yea olde LPSG.org. Who knew? Great choices. Rather than post the entire poem(s) here are links to my current top favorites in English. I'd add Pablo Neruda, but I cannot in good conscience refer to a translation from the original castellano (Spanish). It's true that much is lost in translation. I'm not being a snob. It's just that his writing is loaded with imagery and nuance that doesn't make it across to English.

http://www.poets.org/viewmedia.php/prmMID/15213 The Moose by Elizabeth Bishop. I'm fond of her descriptive narrative style, which if read correctly serves as a transluscent film covering multiple, deeper meanings.

http://www.poets.org/viewmedia.php/prmMID/15395 Because I Could Not Stop for Death by Emily Dickenson. I assume death will also kindly stop for me sometime.

http://www.poets.org/viewmedia.php/prmMID/15729 Birches by Robert Frost. For some reason this work by the old farmer poet has stuck in my memory since I was 14 years-old and could swing birches, myself.

http://www.poets.org/viewmedia.php/prmMID/15308 Howl by Allen Ginsberg. Not everyone's cup of tea, but pivotal, important, and pretty much woke me up into adulthood.

Enjoy
 

B_Nick4444

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I was wondering if Ginsberg's "Howl" would ever show up ... ditto my heroes as I was growing up: Goethe, Rilke, Shelley, Tennyson

FAUST
by Johann Wolfgang von Goethe
translated by George Madison Priest
DEDICATION -
Ye wavering forms draw near again as ever
When ye long since moved past my clouded eyes.
To hold you fast, shall I this time endeavour?
Still does my heart that strange illusion prize?
Ye crowd on me! 'Tis well! Your might assever
While ye from mist and murk around me rise.
As in my youth my heart again is bounding,
Thrilled by the magic breath your train surrounding. -
Ye bring with you glad days and happy faces.
Ah, many dear, dear shades arise with you;
Like some old tale that Time but half erases,
First Love draws near to me and Friendship too.
The pain returns, the sad lament retraces
Life's labyrinthine, erring course anew
And names the good souls who, by Fortune cheated
Of lovely hours, forth from my world have fleeted. -
They do not hear the melodies I'm singing,
The souls to whom my earliest lays I sang;
Dispersed that throng who once to me were clinging,
The echo's died away that one time rang.
Now midst an unknown crowd my grief is ringing,
Their very praise but gives my heart a pang,
While those who once my song enjoyed and flattered,
If still they live, roam through the wide world scattered. -
And I am seized with long-unwonted yearning
Toward yonder realm of spirits grave and still.
My plaintive song's uncertain tones are turning
To harps aeolian murmuring at will.
Awe binds me fast; tear upon tear falls burning,
My stern heart feels a gentle, tender thrill;
What I possess, as if far off I'm seeing,
And what has vanished, now comes into being.
PRELUDE ON THE STAGE -
MANAGER. DRAMATIC POET. JESTER. -
Manager. Ye two that have so often stood by me
In time of need and tribulation,
Come, say: what hope in any German nation
For what we undertake have ye?
I much desire to give the crowd a pleasure,
In chief, because they live and let us live.
The posts, the boards are up, and here at leisure
The crowd expects a feast in what we'll give.
They're sitting now with eyebrows raised,
Quite calmly there, would gladly be amazed.
I know how one can make all minds akin,
Yet so embarrassed I have never been.
In truth, accustomed to the best they're not,
But they have read a really awful lot.
How shall we plan that all be fresh and new
And with a meaning, yet attractive too?
For I do like to see them crowding, urging,
When toward our booth the stream sets in apace
And with its powerful, repeated surging
Pours through the strait and narrow gate of grace,
When still in broad daylight, ere it is four,
They fight and push their way up to the wicket
And as the famine-stricken at the baker's door
They nearly break their necks to get a ticket.
This miracle, upon such varied folk, the poet
Alone can work; today, my friend, oh, show it!
Poet. I beg you, of that motley crowd cease telling
At sight of whom the spirit takes to flight!
Enveil from me the billowing mass compelling
Us to its vortex with resistless might.
No, lead me to the tranquil, heavenly dwelling
Where only blooms for poets pure delight,
Where Love and Friendship give the heart their blessing,
With godlike hand creating and progressing.
Ah, all that from the bosom's depths sprang flowing,
All that from shy and stammering lips has passed,
Sometimes success and sometimes failure knowing,
To each wild moment's power a prey is cast.
Oft only after years, in credit growing,
Doth it appear in perfect form at last.
What gleams is born but for the moment's pages;
The true remains, unlost to after-ages.
Jester. Could I but hear no more of after-ages!
Suppose the thought of them my mind engages,
Who'd give the present world its fun?
That will it have and ought to have it too.
The presence of a gallant chap, revealed to you,
I think, is also worth while being shown.
Who pleasantly can just himself impart,
Is not embittered by the people's whim;
He likes to have a crowd surrounding him,
More certainly to stir and thrill each heart.
So do be good, show you can set the fashion.
Let Fantasy be heard with all her chorus:
Sense, Reason, Sentiment, and Passion;
Yet mark you well! bring Folly too before us!
Manager. But, more than all, do let enough occur!
Men come to look, to see they most prefer.
If, as they gaze, much is reeled off and spun,
So that the startled crowd gapes all it can
A multitude you will at once have won;
You then will be a much-loved man.
You can compel the mass by mass alone;
Each in the end will seek out something as his own.
Bring much and you'll bring this or that to everyone
And each will leave contented when the play is done.
If you will give a piece, give it at once in pieces!
Ragout like this your fame increases.
Easy it is to stage, as easy to invent.
What use is it, a whole to fashion and present?
The Public still will pick it all to pieces.
Poet. You do not feel how bad such handiwork must be,
How little that becomes the artist true!
I see, neat gentlemanly botchery
Is now a sovereign rule with you.
Manager. Reproof like this leaves me quite unoffended!
A man who does his work, effectively intended,
Must stick to tools that are the best for it.
Reflect! You have a tender wood to split;
And those for whom you write, just see!
If this one's driven hither by ennui,
Another leaves a banquet sated with its vapours;
And- what the very worst will always be-
Many come fresh from reading magazines and papers.
Men haste distraught to us as to the masquerade,
And every step but winged by curiosity;
 

D_Gunther Snotpole

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MY LAST DUCHESS
~ Robert Browning

That's my last Duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now: Frà Pandolf's hands
Worked busily a day, and there she stands.
Will't please you sit and look at her? I said
"Frà Pandolf" by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain I have drawn for you, but I)
And seemed as they would ask me, if they durst,
How such a glance came there; so, not the first
Are you to turn and ask thus. Sir, 'twas not
Her husband's presence only, called that spot
Of joy into the Duchess' cheek: perhaps
Frà Pandolf chanced to say "Her mantle laps
Over my Lady's wrist too much," or "Paint
Must never hope to reproduce the faint
Half-flush that dies along her throat": such stuff
Was courtesy, she thought, and cause enough
For calling up that spot of joy. She had
A heart — how shall I say? — too soon made glad,
Too easily impressed; she liked whate'er
She looked on, and her looks went everywhere.
Sir, 'twas all one! My favour at her breast,
The dropping of the daylight in the West,
The bough of cherries some officious fool
Broke in the orchard for her, the white mule
She rode with round the terrace — all and each
Would draw from her alike the approving speech,
Or blush, at least. She thanked men, — good! but thanked
Somehow — I know not how — as if she ranked
My gift of a nine-hundred-years-old name
With anybody's gift. Who'd stoop to blame
This sort of trifling? Even had you skill
In speech — (which I have not) — to make your will
Quite clear to such an one, and say, "Just this
Or that in you disgusts me; here you miss,
Or there exceed the mark" — and if she let
Herself be lessoned so, nor plainly set
Her wits to yours, forsooth, and made excuse,
--E'en then would be some stooping, and I choose
Never to stoop. Oh sir, she smiled, no doubt,
Whene'er I passed her; but who passed without
Much the same smile? This grew; I gave commands;
Then all smiles stopped together. There she stands
As if alive. Will't please you rise? We'll meet
The company below, then. I repeat,
The Count your master's known munificence
Is ample warrant that no just pretence
Of mine for dowry will be disallowed;
Though his fair daughter's self, as I avowed
At starting, is my object. Nay, we'll go
Together down, sir. Notice Neptune, though,
Taming a sea-horse, thought a rarity,
Which Claus of Innsbruck cast in bronze for me!

This was one of the first poems that I really studied as a child.
There are words that may be troubling: "I gave commands; Then all smiles stopped together."
Did he order her killed? Perhaps.
But Browning once suggested that, beyond that possibility, the Duchess might also have been sent to a convent.
Of course, "There she stands as if alive," seems to support the darker possibility.
 

D_Gunther Snotpole

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There's already been some Larkin, but I like this one:

Annus Mirabilis
~Philip Larkin

Sexual intercourse began
In nineteen sixty-three
(which was rather late for me) -
Between the end of the "Chatterley" ban
And the Beatles' first LP.

Up to then there'd only been
A sort of bargaining,
A wrangle for the ring,
A shame that started at sixteen
And spread to everything.

Then all at once the quarrel sank:
Everyone felt the same,
And every life became
A brilliant breaking of the bank,
A quite unlosable game.

So life was never better than
In nineteen sixty-three
(Though just too late for me) -
Between the end of the "Chatterley" ban
And the Beatles' first LP.
 

NCbear

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I also really appreciate Elizabeth Bishop's "One Art."
_____

The art of losing isn't hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.

Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn't hard to master.

Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.

I lost my mother's watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn't hard to master.

I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn't a disaster.

--Even losing you (the joking voice, a gesture
I love) I shan't have lied. It's evident
the art of losing's not too hard to master
though it may look like (Write it!) like disaster.
 

NCbear

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And William Butler Yeats' "He Wishes for the Cloths of Heaven."
_____

Had I the heavens' embroidered cloths,
Enwrought with golden and silver light,
The blue and the dim and the dark cloths
Of night and light and the half-light,
I would spread the cloths under your feet:
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams.