- Thread starter
- #21
This is becoming a great thread.
Poetry thread
- Thread starter oc_in_fw
- Start date
Alright, since this has quieted a bit, I will add another piece by Poe. I admit to not knowing, or at least remembering, this was penned by the famous bard. One of the more unusual iterations was in one of the famous Howard Hawks John Wayne trilogy movies; El Dorado. A young James Caan recites it several times. And yes, it is spelled this way rather than the more proper El Dorado of gold seekers fame.
Eldorado
By Edgar Allan Poe
Gaily bedight,
A gallant knight,
In sunshine and in shadow,
Had journeyed long,
Singing a song,
In search of Eldorado.
But he grew old—
This knight so bold—
And o’er his heart a shadow—
Fell as he found
No spot of ground
That looked like Eldorado.
And, as his strength
Failed him at length,
He met a pilgrim shadow—
‘Shadow,’ said he,
‘Where can it be—
This land of Eldorado?’
‘Over the Mountains
Of the Moon,
Down the Valley of the Shadow,
Ride, boldly ride,’
The shade replied,—
‘If you seek for Eldorado!’
Eldorado
By Edgar Allan Poe
Gaily bedight,
A gallant knight,
In sunshine and in shadow,
Had journeyed long,
Singing a song,
In search of Eldorado.
But he grew old—
This knight so bold—
And o’er his heart a shadow—
Fell as he found
No spot of ground
That looked like Eldorado.
And, as his strength
Failed him at length,
He met a pilgrim shadow—
‘Shadow,’ said he,
‘Where can it be—
This land of Eldorado?’
‘Over the Mountains
Of the Moon,
Down the Valley of the Shadow,
Ride, boldly ride,’
The shade replied,—
‘If you seek for Eldorado!’
And we shan't forget the Irish here!
And seven in the sky;
Seven sins on the King's daughter,
Deep in her soul to lie.
Red roses are at her feet,
(Roses are red in her red-gold hair)
And O where her bosom and girdle meet
Red roses are hidden there.
Fair is the knight who lieth slain
Amid the rush and reed,
See the lean fishes that are fain
Upon dead men to feed.
Sweet is the page that lieth there,
(Cloth of gold is goodly prey,)
See the black ravens in the air,
Black, O black as the night are they.
What do they there so stark and dead?
(There is blood upon her hand)
Why are the lilies flecked with red?
(There is blood on the river sand.)
There are two that ride from the south and east,
And two from the north and west,
For the black raven a goodly feast,
For the King's daughter rest.
There is one man who loves her true,
(Red, O red, is the stain of gore!)
He hath duggen a grave by the darksome yew,
(One grave will do for four.)
No moon in the still heaven,
In the black water none,
The sins on her soul are seven,
The sin upon his is one.
Nay, Lord, not thus! white lilies in the spring, by Oscar Wilde
Seven stars in the still water,
And seven in the sky;
Seven sins on the King's daughter,
Deep in her soul to lie.
Red roses are at her feet,
(Roses are red in her red-gold hair)
And O where her bosom and girdle meet
Red roses are hidden there.
Fair is the knight who lieth slain
Amid the rush and reed,
See the lean fishes that are fain
Upon dead men to feed.
Sweet is the page that lieth there,
(Cloth of gold is goodly prey,)
See the black ravens in the air,
Black, O black as the night are they.
What do they there so stark and dead?
(There is blood upon her hand)
Why are the lilies flecked with red?
(There is blood on the river sand.)
There are two that ride from the south and east,
And two from the north and west,
For the black raven a goodly feast,
For the King's daughter rest.
There is one man who loves her true,
(Red, O red, is the stain of gore!)
He hath duggen a grave by the darksome yew,
(One grave will do for four.)
No moon in the still heaven,
In the black water none,
The sins on her soul are seven,
The sin upon his is one.
The Hollow Men by T. S. Eliot (1925)
Mistah Kurtz - he dead
A penny for the Old Guy
I
We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw. Alas!
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass
Or rats' feet over broken glass
In our dry cellar
Shape without form, shade without colour,
Paralysed force, gesture without motion;
Those who have crossed
With direct eyes, to death's other Kingdom
Remember us - if at all - not as lost
Violent souls, but only
As the hollow men
The stuffed men.
II
Eyes I dare not meet in dreams
In death's dream kingdom
These do not appear:
There, the eyes are
Sunlight on a broken column
There, is a tree swinging
And voices are
In the wind's singing
More distant and more solemn
Than a fading star.
Let me be no nearer
In death's dream kingdom
Let me also wear
Such deliberate disguises
Rat's coat, crowskin, crossed staves
In a field
Behaving as the wind behaves
No nearer -
Not that final meeting
In the twilight kingdom
III
This is the dead land
This is cactus land
Here the stone images
Are raised, here they receive
The supplication of a dead man's hand
Under the twinkle of a fading star.
Is it like this
In death's other kingdom
Waking alone
At the hour when we are
Trembling with tenderness
Lips that would kiss
Form prayers to broken stone.
IV
The eyes are not here
There are no eyes here
In this valley of dying stars
In this hollow valley
This broken jaw of our lost kingdoms
In this last of meeting places
We grope together
And avoid speech
Gathered on this beach of the tumid river
Sightless, unless
The eyes reappear
As the perpetual star
Multifoliate rose
Of death's twilight kingdom
The hope only
Of empty men.
V
Here we go round the prickly pear
Prickly pear prickly pear
Here we go round the prickly pear
At five o'clock in the morning.
Between the idea
And the reality
Between the motion
And the act
Falls the Shadow
For Thine is the Kingdom
Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow
Life is very long
Between the desire
And the spasm
Between the potency
And the existence
Between the essence
And the descent
Falls the Shadow
For Thine is the Kingdom
For Thine is
Life is
For Thine is the
This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.
Mistah Kurtz - he dead
A penny for the Old Guy
I
We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw. Alas!
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass
Or rats' feet over broken glass
In our dry cellar
Shape without form, shade without colour,
Paralysed force, gesture without motion;
Those who have crossed
With direct eyes, to death's other Kingdom
Remember us - if at all - not as lost
Violent souls, but only
As the hollow men
The stuffed men.
II
Eyes I dare not meet in dreams
In death's dream kingdom
These do not appear:
There, the eyes are
Sunlight on a broken column
There, is a tree swinging
And voices are
In the wind's singing
More distant and more solemn
Than a fading star.
Let me be no nearer
In death's dream kingdom
Let me also wear
Such deliberate disguises
Rat's coat, crowskin, crossed staves
In a field
Behaving as the wind behaves
No nearer -
Not that final meeting
In the twilight kingdom
III
This is the dead land
This is cactus land
Here the stone images
Are raised, here they receive
The supplication of a dead man's hand
Under the twinkle of a fading star.
Is it like this
In death's other kingdom
Waking alone
At the hour when we are
Trembling with tenderness
Lips that would kiss
Form prayers to broken stone.
IV
The eyes are not here
There are no eyes here
In this valley of dying stars
In this hollow valley
This broken jaw of our lost kingdoms
In this last of meeting places
We grope together
And avoid speech
Gathered on this beach of the tumid river
Sightless, unless
The eyes reappear
As the perpetual star
Multifoliate rose
Of death's twilight kingdom
The hope only
Of empty men.
V
Here we go round the prickly pear
Prickly pear prickly pear
Here we go round the prickly pear
At five o'clock in the morning.
Between the idea
And the reality
Between the motion
And the act
Falls the Shadow
For Thine is the Kingdom
Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow
Life is very long
Between the desire
And the spasm
Between the potency
And the existence
Between the essence
And the descent
Falls the Shadow
For Thine is the Kingdom
For Thine is
Life is
For Thine is the
This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.
Portrait Of The Artist As A Prematurely Old Man by Ogden Nash
It is common knowledge to every schoolboy and even every Bachelor of Arts,
That all sin is divided into two parts.
One kind of sin is called a sin of commission, and that is very important,
And it is what you are doing when you are doing something you ortant,
And the other kind of sin is just the opposite and is called a sin of omission
and is equally bad in the eyes of all right-thinking people, from
Billy Sunday to Buddha,
And it consists of not having done something you shuddha.
I might as well give you my opinion of these two kinds of sin as long as,
in a way, against each other we are pitting them,
And that is, don't bother your head about the sins of commission because
however sinful, they must at least be fun or else you wouldn't be
committing them.
It is the sin of omission, the second kind of sin,
That lays eggs under your skin.
The way you really get painfully bitten
Is by the insurance you haven't taken out and the checks you haven't added up
the stubs of and the appointments you haven't kept and the bills you
haven't paid and the letters you haven't written.
Also, about sins of omission there is one particularly painful lack of beauty,
Namely, it isn't as though it had been a riotous red-letter day or night every
time you neglected to do your duty;
You didn't get a wicked forbidden thrill
Every time you let a policy lapse or forget to pay a bill;
You didn't slap the lads in the tavern on the back and loudly cry Whee,
Let's all fail to write just one more letter before we go home, and this round
of unwritten letters is on me.
No, you never get any fun
Out of things you haven't done,
But they are the things that I do not like to be amid,
Because the suitable things you didn't do give you a lot more trouble than the
unsuitable things you did.
The moral is that it is probably better not to sin at all, but if some kind of
sin you must be pursuing,
Well, remember to do it by doing rather than by not doing.
It is common knowledge to every schoolboy and even every Bachelor of Arts,
That all sin is divided into two parts.
One kind of sin is called a sin of commission, and that is very important,
And it is what you are doing when you are doing something you ortant,
And the other kind of sin is just the opposite and is called a sin of omission
and is equally bad in the eyes of all right-thinking people, from
Billy Sunday to Buddha,
And it consists of not having done something you shuddha.
I might as well give you my opinion of these two kinds of sin as long as,
in a way, against each other we are pitting them,
And that is, don't bother your head about the sins of commission because
however sinful, they must at least be fun or else you wouldn't be
committing them.
It is the sin of omission, the second kind of sin,
That lays eggs under your skin.
The way you really get painfully bitten
Is by the insurance you haven't taken out and the checks you haven't added up
the stubs of and the appointments you haven't kept and the bills you
haven't paid and the letters you haven't written.
Also, about sins of omission there is one particularly painful lack of beauty,
Namely, it isn't as though it had been a riotous red-letter day or night every
time you neglected to do your duty;
You didn't get a wicked forbidden thrill
Every time you let a policy lapse or forget to pay a bill;
You didn't slap the lads in the tavern on the back and loudly cry Whee,
Let's all fail to write just one more letter before we go home, and this round
of unwritten letters is on me.
No, you never get any fun
Out of things you haven't done,
But they are the things that I do not like to be amid,
Because the suitable things you didn't do give you a lot more trouble than the
unsuitable things you did.
The moral is that it is probably better not to sin at all, but if some kind of
sin you must be pursuing,
Well, remember to do it by doing rather than by not doing.
I jotted this down during a fly fishing trip in Alaska last year
The water is cool, by diverdoug
The water is cool
Sliding up-current,smooth stones caress the belly
The hunger is no longer there… but, something else.
It has pulled since leaving the big water, salt has faded.
Body changing as the waters change
Kipe forming, color changing, and the pull upstream.
A mote appears on the surface…then movement.
The powerful tail strokes and the clamping of the huge curved jaws come at once.
Then pain.
Pain morphing into unrelenting force. Hook dragging on grotesque teeth.
Being dragged cross-stream.
Fighting to turn, to run, to breach.
Exploding through the surface….. twisting turning thrashing.
Myriad of droplets hang and glint in the sun.
Silver body crashing back across stretched line.
A remote snapping, pressure vanished.
Brief flight,then……once again…. the irresistible pull upstream.
The water is cool.
The water is cool, by diverdoug
The water is cool
Sliding up-current,smooth stones caress the belly
The hunger is no longer there… but, something else.
It has pulled since leaving the big water, salt has faded.
Body changing as the waters change
Kipe forming, color changing, and the pull upstream.
A mote appears on the surface…then movement.
The powerful tail strokes and the clamping of the huge curved jaws come at once.
Then pain.
Pain morphing into unrelenting force. Hook dragging on grotesque teeth.
Being dragged cross-stream.
Fighting to turn, to run, to breach.
Exploding through the surface….. twisting turning thrashing.
Myriad of droplets hang and glint in the sun.
Silver body crashing back across stretched line.
A remote snapping, pressure vanished.
Brief flight,then……once again…. the irresistible pull upstream.
The water is cool.
- Thread starter
- #27
Nice to see a personal submission.
- Thread starter
- #28
I thought that, in today's atmosphere, Maya Angelou's Human Family is about perfect.
I note the obvious differences
in the human family.
Some of us are serious,
some thrive on comedy.
Some declare their lives are lived
as true profundity,
and others claim they really live
the real reality.
The variety of our skin tones
can confuse, bemuse, delight,
brown and pink and beige and purple,
tan and blue and white.
I've sailed upon the seven seas
and stopped in every land,
I've seen the wonders of the world
not yet one common man.
I know ten thousand women
called Jane and Mary Jane,
but I've not seen any two
who really were the same.
Mirror twins are different
although their features jibe,
and lovers think quite different thoughts
while lying side by side.
We love and lose in China,
we weep on England's moors,
and laugh and moan in Guinea,
and thrive on Spanish shores.
We seek success in Finland,
are born and die in Maine.
In minor ways we differ,
in major we're the same.
I note the obvious differences
between each sort and type,
but we are more alike, my friends,
than we are unalike.
We are more alike, my friends,
than we are unalike.
We are more alike, my friends,
than we are unalike.
I note the obvious differences
in the human family.
Some of us are serious,
some thrive on comedy.
Some declare their lives are lived
as true profundity,
and others claim they really live
the real reality.
The variety of our skin tones
can confuse, bemuse, delight,
brown and pink and beige and purple,
tan and blue and white.
I've sailed upon the seven seas
and stopped in every land,
I've seen the wonders of the world
not yet one common man.
I know ten thousand women
called Jane and Mary Jane,
but I've not seen any two
who really were the same.
Mirror twins are different
although their features jibe,
and lovers think quite different thoughts
while lying side by side.
We love and lose in China,
we weep on England's moors,
and laugh and moan in Guinea,
and thrive on Spanish shores.
We seek success in Finland,
are born and die in Maine.
In minor ways we differ,
in major we're the same.
I note the obvious differences
between each sort and type,
but we are more alike, my friends,
than we are unalike.
We are more alike, my friends,
than we are unalike.
We are more alike, my friends,
than we are unalike.
I have always liked W.H. Auden's "Funeral Blues," the third stanza, in particular:
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 forever: 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.
Funeral Blues
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 forever: 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.
- Thread starter
- #30
Nice, Rob.
Thanks, Owen.
I must be in a morbid mood. I thought about posting Dickinson's "Because I Could Not Stop for Death"--"he kindly stopped for me," but the bulk of it seems not to hold up for me, except that first line, which seems utterly profound. I find for Dickinson and Frost both that on the surface they seem perhaps mundane or trite. Then I read some analysis and they seem deep, multi-layered, and generally amazing, and, I suppose, original.
I just re-read "Prufrock." It holds up for me, in spades. The concept of measuring one's life in coffee spoons, for instance. But there is too much to it to post here.
The Tyger
BY WILLIAM BLAKE
Tyger Tyger, burning bright,
In the forests of the night;
What immortal hand or eye,
Could frame thy fearful symmetry?
In what distant deeps or skies.
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand, dare seize the fire?
And what shoulder, & what art,
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? & what dread feet?
What the hammer? what the chain,
In what furnace was thy brain?
What the anvil? what dread grasp,
Dare its deadly terrors clasp!
When the stars threw down their spears
And water'd heaven with their tears:
Did he smile his work to see?
Did he who made the Lamb make thee?
Tyger Tyger burning bright,
In the forests of the night:
What immortal hand or eye,
Dare frame thy fearful symmetry?
BY WILLIAM BLAKE
Tyger Tyger, burning bright,
In the forests of the night;
What immortal hand or eye,
Could frame thy fearful symmetry?
In what distant deeps or skies.
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand, dare seize the fire?
And what shoulder, & what art,
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? & what dread feet?
What the hammer? what the chain,
In what furnace was thy brain?
What the anvil? what dread grasp,
Dare its deadly terrors clasp!
When the stars threw down their spears
And water'd heaven with their tears:
Did he smile his work to see?
Did he who made the Lamb make thee?
Tyger Tyger burning bright,
In the forests of the night:
What immortal hand or eye,
Dare frame thy fearful symmetry?
And one more if I may...
The Clod and the Pebble
BY WILLIAM BLAKE
"Love seeketh not itself to please,
Nor for itself hath any care,
But for another gives its ease,
And builds a Heaven in Hell's despair."
So sung a little Clod of Clay
Trodden with the cattle's feet,
But a Pebble of the brook
Warbled out these metres meet:
"Love seeketh only self to please,
To bind another to its delight,
Joys in another's loss of ease,
And builds a Hell in Heaven's despite."
The Clod and the Pebble
BY WILLIAM BLAKE
"Love seeketh not itself to please,
Nor for itself hath any care,
But for another gives its ease,
And builds a Heaven in Hell's despair."
So sung a little Clod of Clay
Trodden with the cattle's feet,
But a Pebble of the brook
Warbled out these metres meet:
"Love seeketh only self to please,
To bind another to its delight,
Joys in another's loss of ease,
And builds a Hell in Heaven's despite."
“I saw a man this morning”
BY PATRICK SHAW-STEWART
I saw a man this morning
Who did not wish to die
I ask, and cannot answer,
If otherwise wish I.
Fair broke the day this morning
Against the Dardanelles;
The breeze blew soft, the morn's cheeks
Were cold as cold sea-shells.
But other shells are waiting
Across the Aegean sea,
Shrapnel and high explosive,
Shells and hells for me.
O hell of ships and cities,
Hell of men like me,
Fatal second Helen,
Why must I follow thee?
Achilles came to Troyland
And I to Chersonese:
He turned from wrath to battle,
And I from three days' peace.
Was it so hard, Achilles,
So very hard to die?
Thou knewest and I know not—
So much the happier I.
I will go back this morning
From Imbros over the sea;
Stand in the trench, Achilles,
Flame-capped, and shout for me.
While known as a “war poet,” Shaw-Stewart wrote only one poem, “I saw a man this morning,” which was penned in a period of rest before fighting at Gallipoli and published after his death. The poem contains allusions to Greek literature, notably Homer’s Iliad. Shaw-Stewart was killed in France in 1917 and buried at Metz-en-Couture.
BY PATRICK SHAW-STEWART
I saw a man this morning
Who did not wish to die
I ask, and cannot answer,
If otherwise wish I.
Fair broke the day this morning
Against the Dardanelles;
The breeze blew soft, the morn's cheeks
Were cold as cold sea-shells.
But other shells are waiting
Across the Aegean sea,
Shrapnel and high explosive,
Shells and hells for me.
O hell of ships and cities,
Hell of men like me,
Fatal second Helen,
Why must I follow thee?
Achilles came to Troyland
And I to Chersonese:
He turned from wrath to battle,
And I from three days' peace.
Was it so hard, Achilles,
So very hard to die?
Thou knewest and I know not—
So much the happier I.
I will go back this morning
From Imbros over the sea;
Stand in the trench, Achilles,
Flame-capped, and shout for me.
While known as a “war poet,” Shaw-Stewart wrote only one poem, “I saw a man this morning,” which was penned in a period of rest before fighting at Gallipoli and published after his death. The poem contains allusions to Greek literature, notably Homer’s Iliad. Shaw-Stewart was killed in France in 1917 and buried at Metz-en-Couture.
- Thread starter
- #35
Dion, I Appreciate the historical context. Rob, I think discussions and analysis would fit this thread well. It is good to here more about the thought and meaning behind the words.
I would also think. Good poetry can be pretty complicated stuff, and sometimes the context matters for the meaning.
I have always thought of Frost's "The Road Not Taken," as a good one to think about/analyze. Sounds like he is saying he is glad he a path different from what most people take. Could be reads as rather trite advice to be true to one-self or some similar oft repeated thought. But, it is way more complicated than that, and may in fact be a satire of such trite advice and/or, perhaps at the same time, a statement that we think we make more choices than we do, and the so-called choices may make little difference.
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.
Yet, it can also be read, as I dare say most would, as a sincere inspiration that to not go along with the crowd is a path to happiness. Frost writes with an alluring and deceptive sparseness. He was anything but a sentimental old man!
I started reading Samuel Hazo today. Amazing poet!
- Thread starter
- #38
I will put him on the list.
Read this one in Writer's Almanac this morning and I thought, "what a perfect poem to share with the guys on B&B" and I figured there was probably a poetry thread somewhere on this forum and lo and behold, here 'tis. Thought it would be good to resurrect this thread. So without further adieu;
Musial
by George Bilgere
My father once sold a Chevy
to Stan Musial, the story goes,
back in the fifties,
when the most coveted object
in the universe of third grade
was a Stan-the-Man baseball card.
No St. Louis honkytonk
or riverfront jazz club
could be more musical
than those three syllables
rising from the tongue of Jack Buck
in the dark mouths
of garages on our street,
where men like my father
stood in their shirt-sleeved exile,
cigarette in one hand, scotch
in the other, radio rising
and ebbing with the Cards.
If Jack Buck were to call
my father’s drinking that summer,
he would have said
he was swinging for the bleachers.
He was on a torrid pace.
In any case, the dealership was failing,
the marriage a heap of ash.
And knowing my father, I doubt
if the story is true,
although I love to imagine
that big, hayseed smile
flashing in the showroom, the salesmen
and mechanics looking on
from their nosebleed seats at the edge
of history, as my dark-suited dad
handed the keys to the Man,
and for an instant each man there
knew himself a part of something
suddenly immense,
as when,
in the old myths, a bored god
dresses up like one of us, and falls
through a summer thunderhead
to shock us from our daydream drabness
with heaven’s dazzle and razzmatazz.
Musial
by George Bilgere
My father once sold a Chevy
to Stan Musial, the story goes,
back in the fifties,
when the most coveted object
in the universe of third grade
was a Stan-the-Man baseball card.
No St. Louis honkytonk
or riverfront jazz club
could be more musical
than those three syllables
rising from the tongue of Jack Buck
in the dark mouths
of garages on our street,
where men like my father
stood in their shirt-sleeved exile,
cigarette in one hand, scotch
in the other, radio rising
and ebbing with the Cards.
If Jack Buck were to call
my father’s drinking that summer,
he would have said
he was swinging for the bleachers.
He was on a torrid pace.
In any case, the dealership was failing,
the marriage a heap of ash.
And knowing my father, I doubt
if the story is true,
although I love to imagine
that big, hayseed smile
flashing in the showroom, the salesmen
and mechanics looking on
from their nosebleed seats at the edge
of history, as my dark-suited dad
handed the keys to the Man,
and for an instant each man there
knew himself a part of something
suddenly immense,
as when,
in the old myths, a bored god
dresses up like one of us, and falls
through a summer thunderhead
to shock us from our daydream drabness
with heaven’s dazzle and razzmatazz.
