Written the night before his death in 1618, this version of the last stanza of one of Raleigh's earlier poems was found in the flyleaf of his Bible in the Abbey Gatehouse at Westminster. Sir Walter was one heck of a fellow.

Even such is Time, which takes in trust
Our youth, our joys, and all we have,
And pays us but with age and dust,
Who in the dark and silent grave
When we have wandered all our ways
Shuts up the story of our days.
And from which earth, and grave, and dust,
The Lord shall raise me up I trust.

He died Monday at 87. Bio at wiki here.

The Simple Truth

I bought a dollar and a half’s worth of small red potatoes,
took them home, boiled them in their jackets
and ate them for dinner with a little butter and salt.
Then I walked through the dried fields
on the edge of town. In middle June the light
hung on in the dark furrows at my feet,
and in the mountain oaks I overheard the birds
were gathering for the night, the jays and mockers
squawking back and forth, the finches still darting
into the dusty light. The woman who sold me
the potatoes was from Poland; she was someone
out of my childhood in a pink spangled sweater and sunglasses
praising the perfection of all her fruits and vegetables
at the road-side stand and urging me to taste
even the pale, raw sweet corn trucked all the way,
she swore, from New Jersey. “Eat, eat,” she said,
“Even if you don’t I’ll say you did.”

Some things you know all your life. They are so simple and true
they must be said without elegance, meter and rhyme,
they must be laid on the table beside the salt shaker,
the glass of water, the absence of light gathering
in the shadows of picture frames, they must be
naked and alone, they must stand for themselves.
My friend Henri and I arrived at this together in 1965
before I went away, before he began to kill himself,
and the two of us to betray our love. Can you taste
what I’m saying? It is onions or potatoes, a pinch
of simple salt, the wealth of melting butter, it is obvious,
it stays in the back of your throat like a truth
you never uttered because the time was always wrong,
it stays there for the rest of your life, unspoken,
made of that dirt we call earth, the metal we call salt,
in a form we have no words for, and you live on it.

The Passionate Shepherd to His Love

Come live with me and be my love, 
And we will all the pleasures prove 
That valleys, groves, hills, and fields, 
Woods or steepy mountain yields. 

And we will sit upon the rocks, 
Seeing the shepherds feed their flocks, 
By shallow rivers to whose falls 
Melodious birds sing madrigals. 

And I will make thee beds of roses 
And a thousand fragrant posies, 
A cap of flowers, and a kirtle 
Embroidered all with leaves of myrtle; 

A gown made of the finest wool 
Which from our pretty lambs we pull; 
Fair lined slippers for the cold, 
With buckles of the purest gold; 

A belt of straw and ivy buds, 
With coral clasps and amber studs: 
And if these pleasures may thee move, 
Come live with me and be my love. 

The shepherds' swains shall dance and sing 
For thy delight each May morning: 
If these delights thy mind may move, 
Then live with me and be my love.

The Snow Man

One must have a mind of winter
To regard the frost and the boughs
Of the pine-trees crusted with snow;

And have been cold a long time
To behold the junipers shagged with ice,
The spruces rough in the distant glitter

Of the January sun; and not to think
Of any misery in the sound of the wind,
In the sound of a few leaves,

Which is the sound of the land
Full of the same wind
That is blowing in the same bare place

For the listener, who listens in the snow,
And, nothing himself, beholds
Nothing that is not there and the nothing that is.

A short excerpt from Snowbound: A Winter Idyl (1866):

Yet, haply, in some lull of life,
Some Truce of God which breaks its strife,
The wordling's eyes shall gather dew,
Dreaming in throngful city ways
Of winter joys his boyhood knew;
And dear and early friends the few
Who yet remain shall pause to view
These Flemish pictures of old days;
Sit with me by the homestead hearth
And stretch the hands of memory forth
To warm them at the wood-fire's blaze!
And thanks untraced to lips unknown
Shall greet me like the odors blown
From unseen meadows newly mown,
Or lilies floating in some pond,
Wood-fringed, the wayside gaze beyond;
The traveller owns the grateful sense
Of sweetness near, he knows not whence,
And, pausing takes with forehead bare
The benediction of the air.

Ahhh, the benediction of the air. Read the entire wonderful but old-fashioned-sounding 1865 poem by the great north of Boston newspaper editor and abolitionist here.

He made a lot of money from that poem. Whittier's home, to which the poem refers, stands in Haverhill, MA. It's a sentimental poem you can read to the kids - with feeling! Especially on a snowbound day.

Dylan's recording on Empire Burlesque is better and deeper than this one with Patti Smith, but this is all I could find.

The remarkable lyrics:

 Oh, the gentlemen are talking and the midnight moon is on the riverside
They're drinking up and walking and it is time for me to slide
I live in another world where life and death are memorized
Where the earth is strung with lover's pearls and all I see are dark eyes.

A cock is crowing far away and another soldier's deep in prayer
Some mother's child has gone astray, she can't find him anywhere
But I can hear another drum beating for the dead that rise
Whom nature's beast fears as they come and all I see are dark eyes.

They tell me to be discreet for all intended purposes
They tell me revenge is sweet and from where they stand, I'm sure it is
But I feel nothing for their game, where beauty goes unrecognized
All I feel is heat and flame, and all I see are dark eyes.

Oh, the French girl, she's in paradise and a drunken man is at the wheel
Hunger pays a heavy prize to the falling gods of speed and steel
Oh, time is short and the days are sweet and passion rules the arrow that flies
A million faces at my feet but all I see are dark eyes.

To Jane

The keen stars were twinkling,
And the fair moon was rising among them,
Dear Jane.
The guitar was tinkling,
But the notes were not sweet till you sung them
Again.

As the moon's soft splendour
O'er the faint cold starlight of Heaven
Is thrown,
So your voice most tender
To the strings without soul had then given
Its own.

The stars will awaken,
Though the moon sleep a full hour later
To-night;
No leaf will be shaken
Whilst the dews of your melody scatter
Delight.

Though the sound overpowers,
Sing again, with your dear voice revealing
A tone
Of some world far from ours,
Where music and moonlight and feeling
Are one.

Shelley was not a typical Maggie's Farm sort of fellow. He was a fan of all of the hip and rebellious ideas of the early 1800s: vegetarianism, free love, atheism, (and anti-monarchism and related radical politics of the time), and he always seemed to be chasing 16 year-old girls.

The Gods of the Copybook Headings, 1919 (here's what a copybook is, and, by "markets," he means the political speakers in the marketplace of ideas)

AS I PASS through my incarnations in every age and race,
I make my proper prostrations to the Gods of the Market Place.
Peering through reverent fingers I watch them flourish and fall,
And the Gods of the Copybook Headings, I notice, outlast them all.

We were living in trees when they met us. They showed us each in turn
That Water would certainly wet us, as Fire would certainly burn:
But we found them lacking in Uplift, Vision and Breadth of Mind,
So we left them to teach the Gorillas while we followed the March of Mankind.

We moved as the Spirit listed. They never altered their pace,
Being neither cloud nor wind-borne like the Gods of the Market Place,
But they always caught up with our progress, and presently word would come
That a tribe had been wiped off its icefield, or the lights had gone out in Rome.

With the Hopes that our World is built on they were utterly out of touch,
They denied that the Moon was Stilton; they denied she was even Dutch;
They denied that Wishes were Horses; they denied that a Pig had Wings;
So we worshipped the Gods of the Market Who promised these beautiful things.

When the Cambrian measures were forming, They promised perpetual peace.
They swore, if we gave them our weapons, that the wars of the tribes would cease.
But when we disarmed, they sold us and delivered us bound to our foe,
And the Gods of the Copybook Headings said: "Stick to the Devil you know."

On the first Feminian Sandstones we were promised the Fuller Life
(Which started by loving our neighbour and ended by loving his wife)
Till our women had no more children and the men lost reason and faith,
And the Gods of the Copybook Headings said: "The Wages of Sin is Death."

In the Carboniferous Epoch we were promised abundance for all,
By robbing selected Peter to pay for collective Paul;
But, though we had plenty of money, there was nothing our money could buy,
And the Gods of the Copybook Headings said: "If you don't work you die."

Then the Gods of the Market tumbled, and their smooth-tongued wizards withdrew
And the hearts of the meanest were humbled and began to believe it was true
That All is not Gold that Glitters, and Two and Two make Four
And the Gods of the Copybook Headings limped up to explain it once more.

As it will be in the future, it was at the birth of Man
There are only four things certain since Social Progress began.
That the Dog returns to his Vomit and the Sow returns to her Mire,
And the burnt Fool's bandaged finger goes wabbling back to the Fire;

And that after this is accomplished, and the brave new world begins
When all men are paid for existing and no man must pay for his sins,
As surely as Water will wet us, as surely as Fire will burn,
The Gods of the Copybook Headings with terror and slaughter return!

The Last Pain

This last pain for the damned the Fathers found:
"They knew the bliss with which they were not crowned."
Such, but on earth, let me foretell,
Is all, of heaven or of hell.

Man, as the prying housemaid of the soul,
May know her happiness by eye to hole;
He's safe; the key is lost; he knows
Door will not open, nor hole close.

"What is conceivable can happen too,"
Said Wittgenstein, who had not dreamt of you;
But wisely; if we worked it long
We should forget where it was wrong.

Those thorns are crowns which, woven into knots,
Crackle under and soon boil fool's pots;
And no man's watching, wise and long,
Would ever stare them into song.

Thorns burn to a consistent ash, like man;
A splendid cleanser for the frying-pan:
And those who leap from pan to fire
Should this brave opposite admire.

All those large dreams by which men long live well
Are magic-lanterned on the smoke of hell;
This then is real, I have implied,
A painted, small, transparent slide.

These the inventive can hand-paint at leisure,
Or most emporia would stock our measure;
And feasting in their dappled shade
We should forget how they were made.

Feign then what's by a decent tact believed,
And act that state is only so conceived,
And build an edifice of form
For house where phantoms may keep warm.

Imagine, then, by miracle, with me,
(Ambiguous gifts, as what gods give must be)
What could not possibly be there,
And learn a style from a despair.

Maggie's Farmers are fans of William Empson, more for his books than for his poetry. For many of us, his 7 Types of Ambiguity (written at age 22) opened a door to a new world. A commenter here claimed that his The Structure of Complex Words is the best book ever written. Better check it out.

Love's Deity

I long to talk with some old lover's ghost,
    Who died before the god of love was born.
I cannot think that he, who then loved most,
    Sunk so low as to love one which did scorn.
But since this god produced a destiny,
And that vice-nature, custom, lets it be,
    I must love her that loves not me.

Sure, they which made him god, meant not so much,
    Nor he in his young godhead practised it.
But when an even flame two hearts did touch,
    His office was indulgently to fit
Actives to passives. Correspondency
Only his subject was; it cannot be
    Love, till I love her, who loves me.

But every modern god will now extend
    His vast prerogative as far as Jove.
To rage, to lust, to write to, to commend,
    All is the purlieu of the god of love.
O! were we waken'd by this tyranny
To ungod this child again, it could not be
    I should love her, who loves not me.

Rebel and atheist too, why murmur I,
    As though I felt the worst that love could do?
Love might make me leave loving, or might try
    A deeper plague, to make her love me too;
Which, since she loves before, I'm loth to see.
Falsehood is worse than hate; and that must be,
    If she whom I love, should love me.

Re-posted from last November: One more pic from our friend's vacation trip to Hudson Bay:

Here's today's verse. It's a fox's Thanksgiving, I guess. Who can remember Bob Shane?

A Winter Night

It snowed and snowed, the whole world over,
Snow swept the world from end to end.
A candle burned on the table;
A candle burned.

As during summer midges swarm
To beat their wings against a flame
Out in the yard the snowflakes swarmed
To beat against the window pane

The blizzard sculptured on the glass
Designs of arrows and of whorls.
A candle burned on the table;
A candle burned.

Distorted shadows fell
Upon the lighted ceiling:
Shadows of crossed arms,of crossed legs-
Of crossed destiny.

Two tiny shoes fell to the floor
And thudded.
A candle on a nightstand shed wax tears
Upon a dress.

All things vanished within
The snowy murk-white,hoary.
A candle burned on the table;
A candle burned.

A corner draft fluttered the flame
And the white fever of temptation
Upswept its angel wings that cast
A cruciform shadow

It snowed hard throughout the month
Of February, and almost constantly
A candle burned on the table;
A candle burned.

Taking Off Emily Dickinson's Clothes

First, her tippet made of tulle,
easily lifted off her shoulders and laid
on the back of a wooden chair.

And her bonnet,
the bow undone with a light forward pull.

Then the long white dress, a more
complicated matter with mother-of-pearl
buttons down the back,
so tiny and numerous that it takes forever
before my hands can part the fabric,
like a swimmer's dividing water,
and slip inside.

You will want to know
that she was standing
by an open window in an upstairs bedroom,
motionless, a little wide-eyed,
looking out at the orchard below,
the white dress puddled at her feet
on the wide-board, hardwood floor.

The complexity of women's undergarments
in nineteenth-century America
is not to be waved off,
and I proceeded like a polar explorer
through clips, clasps, and moorings,
catches, straps, and whalebone stays,
sailing toward the iceberg of her nakedness.

Later, I wrote in a notebook
it was like riding a swan into the night,
but, of course, I cannot tell you everything -
the way she closed her eyes to the orchard,
how her hair tumbled free of its pins,
how there were sudden dashes
whenever we spoke.

What I can tell you is
it was terribly quiet in Amherst
that Sabbath afternoon,
nothing but a carriage passing the house,
a fly buzzing in a windowpane.

So I could plainly hear her inhale
when I undid the very top
hook-and-eye fastener of her corset

and I could hear her sigh when finally it was unloosed,
the way some readers sigh when they realize
that Hope has feathers,
that reason is a plank,
that life is a loaded gun
that looks right at you with a yellow eye. 

Ozymandias

I met a traveller from an antique land

Who said: Two vast and trunkless legs of stone

Stand in the desert. Near them, on the sand,

Half sunk, a shattered visage lies, whose frown,

And wrinkled lip, and sneer of cold command,

Tell that its sculptor well those passions read

Which yet survive, stamped on these lifeless things,

The hand that mocked them, and the heart that fed;

And on the pedestal these words appear:

"My name is Ozymandias, king of kings:

Look on my works, ye Mighty, and despair!"

Nothing beside remains. Round the decay

Of that colossal wreck, boundless and bare

The lone and level sands stretch far away.

Shelley (1792-1822) led one heck of a rebellious life - a classic poet's life full of tragedy, 

unconformity, love, and pain.

Ars Poetica 

A poem should be palpable and mute
As a globed fruit

Dumb
As old medallions to the thumb

Silent as the sleeve-worn stone
Of casement ledges where the moss has grown -

A poem should be wordless
As the flight of birds

A poem should be motionless in time
As the moon climbs

Leaving, as the moon releases
Twig by twig the night-entangled trees,

Leaving, as the moon behind the winter leaves,
Memory by memory the mind -

A poem should be motionless in time
As the moon climbs

A poem should be equal to:
Not true

For all the history of grief
An empty doorway and a maple leaf

For love
The leaning grasses and two lights above the sea -

A poem should not mean
But be.

 From A&C:

ENOBARBUS
How appears the fight?

SCARUS
On our side like the tokened pestilence
Where death is sure. Yon ribaudred nag of Egypt—
Whom leprosy o’ertake—i’ th’ midst o’ th’ fight,
When vantage like a pair of twins appeared,
Both as the same, or rather ours the elder,
The breese upon her, like a cow in June,
Hoists sails and flies.

Poetic language is an intensification of the use of words. Prof Booth likes to look at the "physics" of poetic language. When a person gets into a poetry state, whether writing or reading, the mind can take over and let the inner physics of the thing just happen the same way you can hit a moving car with a snowball without knowing the math and the brain physiology of it.

I found this essay to be fascinating, and had to re-read it:  Shakespeare’s Genius Is Nonsense - What the Bard can teach science about language and the limits of the human mind. One quote:

 As a playwright and businessman, of course, Shakespeare had a serious interest in shielding his audiences from the mechanics of his verse. In addition to its concordance with the 16th-century concept of sprezzatura—lightness, ease, the ability to make even the most difficult things look effortless—a play crafted to maximize delight helped Shakespeare fill theatres in a way that a lot of visible sweating over the lines might not have. For every ingenious device that Booth describes in the verse, he brings as much attention to the effort that went into keeping it unobtrusive. His theory may explain the ineffable mind-states that poetry creates in us: poetic experience as the interaction of barely perceptible mental processes whose delicate, scintillating play is usually washed out by the spotlight of conscious attention.

What Booth so elegantly shows us is how Shakespeare can free us from ourselves. His lush, prismatic verse grants us “a small but metaphysically glorious holiday” from how we usually comprehend language, a holiday that is in turn “a brief and trivial but effectively real holiday from the inherent limitation of the human mind.” Rather than plunging into the abyss of not-knowing, we soar above it. We are not falling, but flying.

On January 20, 1961, Robert Frost spoke at John F. Kennedy's inauguration. The snow-glare made it impossible for him to read his new poem for the occasion (he was 87 years old), so he recited a better poem, The Gift Outright, from memory.

~ The Gift Outright ~

The land was ours before we were the land's.
She was our land more than a hundred years
Before we were her people. She was ours
In Massachusetts, in Virginia.
But we were England's, still colonials,
Possessing what we still were unpossessed by,
Possessed by what we now no more possessed.
Something we were withholding made us weak.
Until we found out that it was ourselves
We were withholding from our land of living,
And forthwith found salvation in surrender.
Such as we were we gave ourselves outright
(The deed of gift was many deeds of war)
To the land vaguely realizing westward,
But still unstoried, artless, unenhanced,
Such as she was, such as she would become.

When You Are Old

 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.

After Apple Picking

My long two-pointed ladder's sticking through a tree
Toward heaven still,
And there's a barrel that I didn't fill
Beside it, and there may be two or three
Apples I didn't pick upon some bough.
But I am done with apple-picking now.
Essence of winter sleep is on the night,
The scent of apples: I am drowsing off.
I cannot rub the strangeness from my sight
I got from looking through a pane of glass
I skimmed this morning from the drinking trough
And held against the world of hoary grass.
It melted, and I let it fall and break.
But I was well
Upon my way to sleep before it fell,
And I could tell
What form my dreaming was about to take.
Magnified apples appear and disappear,
Stem end and blossom end,
And every fleck of russet showing clear.
My instep arch not only keeps the ache,
It keeps the pressure of a ladder-round.
I feel the ladder sway as the boughs bend.
And I keep hearing from the cellar bin
The rumbling sound
Of load on load of apples coming in.
For I have had too much
Of apple-picking: I am overtired
Of the great harvest I myself desired.
There were ten thousand thousand fruit to touch,
Cherish in hand, lift down, and not let fall.
For all
That struck the earth,
No matter if not bruised or spiked with stubble,
Went surely to the cider-apple heap
As of no worth.
One can see what will trouble
This sleep of mine, whatever sleep it is.
Were he not gone,
The woodchuck could say whether it's like his
Long sleep, as I describe its coming on,
Or just some human sleep.

A hungry feeling
Came o'er me stealing
And the mice were squealing
In my prison cell
And that auld triangle went jingle-jangle
All along the banks of the Royal Canal

Oh! To start the morning
The warden bawling
"Get up out of bed, clean out your cell!"
And that auld triangle went jingle-jangle
All along the banks of the Royal Canal

Oh! the screw was peeping
And the lag was sleeping
As he lay weeping
For his girl Sal
And that auld triangle went jingle-jangle
All along the banks of the Royal Canal

On a fine Spring evening
The lag lay dreaming
And the sea-gulls were wheeling
High above the wall
And that auld triangle went jingle-jangle
All along the banks of the Royal Canal

Oh! the wind was sighing
And the day was dying
As the lag lay crying
In his prison cell
And that auld triangle went jingle-jangle
All along the banks of the Royal Canal

In the female prison
There are seventy women
It's with all of them
That I'd like to dwell
Then that auld triangle could go jingle-jangle
All along the banks of the Royal Canal.

This song was written by Irish playwright Brendan Behan for his play The Quare Fellow (slang for a condemned man). A lag is slang for a new prisoner. The song has been performed by The Dubliners, The Clancy Brothers, and The Pogues, and is recorded on one of Bob Dylan's practice "basement tapes" with The Band in a folk-rock style.

Photo: Behan with Jackie Gleason, 1960.

She was a phantom of delight (1804)

SHE was a Phantom of delight
          When first she gleamed upon my sight;
          A lovely Apparition, sent
          To be a moment's ornament;
          Her eyes as stars of Twilight fair;
          Like Twilight's, too, her dusky hair;
          But all things else about her drawn
          From May-time and the cheerful Dawn;
          A dancing Shape, an Image gay,
          To haunt, to startle, and way-lay.                          

          I saw her upon nearer view,
          A Spirit, yet a Woman too!
          Her household motions light and free,
          And steps of virgin-liberty;
          A countenance in which did meet
          Sweet records, promises as sweet;
          A Creature not too bright or good
          For human nature's daily food;
          For transient sorrows, simple wiles,
          Praise, blame, love, kisses, tears, and smiles.             

          And now I see with eye serene
          The very pulse of the machine;
          A Being breathing thoughtful breath,
          A Traveller between life and death;
          The reason firm, the temperate will,
          Endurance, foresight, strength, and skill;
          A perfect Woman, nobly planned,
          To warn, to comfort, and command;
          And yet a Spirit still, and bright
          With something of angelic light.