Poetry Final

712 ("Because I could not stop for death") Emily Dickinson

Because I could not stop for Death - He kindly stopped for me - The Carriage held but just Ourselves - And Immortality. We slowly drove - He knew no haste And I had put away My labor and my leisure too, For His Civility - We passed the School, where Children strove At Recess - in the Ring - We passed the Fields of Gazing Grain - We passed the Setting Sun - Or rather - He passed Us - The Dews drew quivering and Chill - For only Gossamer, my Gown - My Tippet - only Tulle - We paused before a House that seemed A Swelling of the Ground - The Roof was scarcely visible - The Cornice - in the Ground - Since then - 'tis Centuries - and yet Feels shorter than the Day I first surmised the Horses' Heads Were toward Eternity -

This Is Just to Say William Carlos Williams

I have eaten the plums that were in the icebox and which you were probably saving for breakfast Forgive me they were delicious so sweet and so cold

First Fig Edna St. Vincent Millay

My candle burns at both ends; It will not last the night; But ah, my foes, and oh, my friends— It gives a lovely light!

Lying in a Hammock at William Duffy's Farm James Wright

Over my head, I see the bronze butterfly, Asleep on the black trunk, Blowing like a leaf in green shadow. Down the ravine behind the empty house, The cowbells follow one another Into the distances of the afternoon. To my right, In a field of sunlight between two pines, The droppings of last year's horses Blaze up into golden stones. I lean back, as the evening darkens and comes on. A chicken hawk floats over, looking for home. I have wasted my life.

Mutability

liability or tendency to change or decay especially before death

Assonance

repetition of the sound of a vowel in non-rhyming stressed syllables near enough to each other for the echo to be discernible

On Being Brought from Africa to America Phyllis Wheatley

'Twas mercy brought me from my Pagan land, Taught my benighted soul to understand That there's a God, that there's a Saviour too: Once I redemption neither sought nor knew. Some view our sable race with scornful eye, "Their colour is a diabolic die." Remember, Christians, Negros, black as Cain, May be refin'd, and join th' angelic train.

Gathering the Bones Together Gregory Orr

1. a night in the barn The deer carcass hangs from a rafter. Wrapped in blankets, a boy keeps watch from a pile of loose hay. Then he sleeps and dreams about a death that is coming: Inside him, there are small bones scattered in a field among burdocks and dead grass. He will spend his life walking there, gathering the bones together. Pigeons rustle in the eaves. At his feet, the German shepherd snaps its jaws in its sleep. 2 A father and his four sons run down a slope toward a deer they just killed. The father and two sons carry rifles. They laugh, jostle, and chatter together. A gun goes off and the youngest brother falls to the ground. A boy with a rifle stands beside him, screaming. 3 I crouch in the corner of my room, staring into the glass well of my hands; far down I see him drowning in air. Outside, leaves shaped like mouths make a black pool under a tree. Snails glide there, little death-swans. 4. smoke Something has covered the chimney and the whole house fills with smoke. I go outside and look up at the roof, but I can't see anything. I go back inside. Everyone weeps, walking from room to room. Their eyes ache. This smoke turns people into shadows. Even after it is gone and the tears are gone, we will smell it in pillows when we lie down to sleep. 5 He lives in a house of black glass. Sometimes I visit him, and we talk. My father says he is dead, but what does that mean? Last night I found a child sleeping on a nest of bones. He had a red, leaf-shaped scar on his cheek. I lifted him up and carried him with me, though I didn't know where I was going. 6. the journey Each night, I knelt on a marble slab and scrubbed at the blood. I scrubbed for years and still it was there. But tonight the bones in my feet begin to burn. I stand up and start walking, and the slab appears under my feet with each step, a white road only as long as your body. 7. the distance The winter I was eight, a horse slipped on the ice, breaking its leg. Father took a rifle, a can of gasoline. I stood by the road at dusk and watched the carcass burning in the far pasture. I was twelve when I killed him; I felt my own bones wrench from my body. Now I am twenty-seven and walk beside this river, looking for them. They have become a bridge that arches toward the other shore.

Things Shouldn't Be So Hard Kay Ryan

A life should leave deep tracks: ruts where she went out and back to get the mail or move the hose around the yard; where she used to stand before the sink, a worn out place; beneath her hand, the china knobs rubbed down to white pastilles; the switch she used to feel for in the dark almost erased. Her things should keep her marks. The passage of a life should show; it should abrade. And when life stops, a certain space —however small— should be left scarred by the grand and damaging parade. Things shouldn't be so hard.

Madonna of the Evening Flowers Amy Lowell

All day long I have been working Now I am tired. I call: "Where are you?" But there is only the oak tree rustling in the wind. The house is very quiet, The sun shines in on your books, On your scissors and thimble just put down, But you are not there. Suddenly I am lonely: Where are you? I go about searching. Then I see you, Standing under a spire of pale blue larkspur, With a basket of roses on your arm. You are cool, like silver, And you smile. I think the Canterbury bells are playing little tunes, You tell me that the peonies need spraying, That the columbines have overrun all bounds, That the pyrus japonica should be cut back and rounded. You tell me these things. But I look at you, heart of silver, White heart-flame of polished silver, Burning beneath the blue steeples of the larkspur, And I long to kneel instantly at your feet, While all about us peal the loud, sweet Te Deums of the Canterbury bells.

America Claude McKay

Although she feeds me bread of bitterness, And sinks into my throat her tiger's tooth, Stealing my breath of life, I will confess I love this cultured hell that tests my youth. Her vigor flows like tides into my blood, Giving me strength erect against her hate, Her bigness sweeps my being like a flood. Yet, as a rebel fronts a king in state, I stand within her walls with not a shred Of terror, malice, not a word of jeer. Darkly I gaze into the days ahead, And see her might and granite wonders there, Beneath the touch of Time's unerring hand, Like priceless treasures sinking in the sand.

As Kingfishers Catch Fire Gerard Manley Hopkins

As kingfishers catch fire, dragonflies draw flame; As tumbled over rim in roundy wells Stones ring; like each tucked string tells, each hung bell's Bow swung finds tongue to fling out broad its name; Each mortal thing does one thing and the same: Deals out that being indoors each one dwells; Selves — goes itself; myself it speaks and spells, Crying Whát I dó is me: for that I came. I say móre: the just man justices; Keeps grace: thát keeps all his goings graces; Acts in God's eye what in God's eye he is — Chríst — for Christ plays in ten thousand places, Lovely in limbs, and lovely in eyes not his To the Father through the features of men's faces.

The Niagara River Kay Ryan

As though the river were a floor, we position our table and chairs upon it, eat, and have conversation. As it moves along, we notice—as calmly as though dining room paintings were being replaced— the changing scenes along the shore. We do know, we do know this is the Niagara River, but it is hard to remember what that means.

A Valediction Forbidding Mourning John Donne

As virtuous men pass mildly away, And whisper to their souls to go, Whilst some of their sad friends do say The breath goes now, and some say, No: So let us melt, and make no noise, No tear-floods, nor sigh-tempests move; 'Twere profanation of our joys To tell the laity our love. Moving of th' earth brings harms and fears, Men reckon what it did, and meant; But trepidation of the spheres, Though greater far, is innocent. Dull sublunary lovers' love (Whose soul is sense) cannot admit Absence, because it doth remove Those things which elemented it. But we by a love so much refined, That our selves know not what it is, Inter-assured of the mind, Care less, eyes, lips, and hands to miss. Our two souls therefore, which are one, Though I must go, endure not yet A breach, but an expansion, Like gold to airy thinness beat. If they be two, they are two so As stiff twin compasses are two; Thy soul, the fixed foot, makes no show To move, but doth, if the other do. And though it in the center sit, Yet when the other far doth roam, It leans and hearkens after it, And grows erect, as that comes home. Such wilt thou be to me, who must, Like th' other foot, obliquely run; Thy firmness makes my circle just, And makes me end where I begun.

Dear John Wayne Louise Erdrich

August and the drive-in picture is packed. We lounge on the hood of the Pontiac surrounded by the slow-burning spirals they sell at the window, to vanquish the hordes of mosquitoes. Nothing works. They break through the smoke screen for blood. Always the lookout spots the Indian first, spread north to south, barring progress. The Sioux or some other Plains bunch in spectacular columns, ICBM missiles, feathers bristling in the meaningful sunset. The drum breaks. There will be no parlance. Only the arrows whining, a death-cloud of nerves swarming down on the settlers who die beautifully, tumbling like dust weeds into the history that brought us all here together: this wide screen beneath the sign of the bear. The sky fills, acres of blue squint and eye that the crowd cheers. His face moves over us, a thick cloud of vengeance, pitted like the land that was once flesh. Each rut, each scar makes a promise: It is not over, this fight, not as long as you resist. Everything we see belongs to us. A few laughing Indians fall over the hood slipping in the hot spilled butter. The eye sees a lot, John, but the heart is so blind. Death makes us owners of nothing. He smiles, a horizon of teeth the credits reel over, and then the white fields again blowing in the true-to-life dark. The dark films over everything. We get into the car scratching our mosquito bites, speechless and small as people are when the movie is done. We are back in our skins. How can we help but keep hearing his voice, the flip side of the sound track, still playing: Come on, boys, we got them where we want them, drunk, running. They'll give us what we want, what we need. Even his disease was the idea of taking everything. Those cells, burning, doubling, splitting out of their skins.

The Weary Blues Langston Hughes

Droning a drowsy syncopated tune, Rocking back and forth to a mellow croon, I heard a Negro play. Down on Lenox Avenue the other night By the pale dull pallor of an old gas light He did a lazy sway . . . He did a lazy sway . . . To the tune o' those Weary Blues. With his ebony hands on each ivory key He made that poor piano moan with melody. O Blues! Swaying to and fro on his rickety stool He played that sad raggy tune like a musical fool. Sweet Blues! Coming from a black man's soul. O Blues! In a deep song voice with a melancholy tone I heard that Negro sing, that old piano moan— "Ain't got nobody in all this world, Ain't got nobody but ma self. I's gwine to quit ma frownin' And put ma troubles on the shelf." Thump, thump, thump, went his foot on the floor. He played a few chords then he sang some more— "I got the Weary Blues And I can't be satisfied. Got the Weary Blues And can't be satisfied— I ain't happy no mo' And I wish that I had died." And far into the night he crooned that tune. The stars went out and so did the moon. The singer stopped playing and went to bed While the Weary Blues echoed through his head. He slept like a rock or a man that's dead.

Chicago Carl Sandburg

Hog Butcher for the World, Tool Maker, Stacker of Wheat, Player with Railroads and the Nation's Freight Handler; Stormy, husky, brawling, City of the Big Shoulders: They tell me you are wicked and I believe them, for I have seen your painted women under the gas lamps luring the farm boys. And they tell me you are crooked and I answer: Yes, it is true I have seen the gunman kill and go free to kill again. And they tell me you are brutal and my reply is: On the faces of women and children I have seen the marks of wanton hunger. And having answered so I turn once more to those who sneer at this my city, and I give them back the sneer and say to them: Come and show me another city with lifted head singing so proud to be alive and coarse and strong and cunning. Flinging magnetic curses amid the toil of piling job on job, here is a tall bold slugger set vivid against the little soft cities; Fierce as a dog with tongue lapping for action, cunning as a savage pitted against the wilderness, Bareheaded, Shoveling, Wrecking, Planning, Building, breaking, rebuilding, Under the smoke, dust all over his mouth, laughing with white teeth, Under the terrible burden of destiny laughing as a young man laughs, Laughing even as an ignorant fighter laughs who has never lost a battle, Bragging and laughing that under his wrist is the pulse, and under his ribs the heart of the people, Laughing! Laughing the stormy, husky, brawling laughter of Youth, half-naked, sweating, proud to be Hog Butcher, Tool Maker, Stacker of Wheat, Player with Railroads and Freight Handler to the Nation.

Indian Boarding School: The Runaways Louise Erdrich

Home's the place we head for in our sleep. Boxcars stumbling north in dreams don't wait for us. We catch them on the run. The rails, old lacerations that we love, shoot parallel across the face and break just under Turtle Mountains. Riding scars you can't get lost. Home is the place they cross. The lame guard strikes a match and makes the dark less tolerant. We watch through cracks in boards as the land starts rolling, rolling till it hurts to be here, cold in regulation clothes. We know the sheriff's waiting at midrun to take us back. His car is dumb and warm. The highway doesn't rock, it only hums like a wing of long insults. The worn-down welts of ancient punishments lead back and forth. All runaways wear dresses, long green ones, the color you would think shame was. We scrub the sidewalks down because it's shameful work. Our brushes cut the stone in watered arcs and in the soak frail outlines shiver clear a moment, things us kids pressed on the dark face before it hardened, pale, remembering delicate old injuries, the spines of names and leaves.

Thirteen Ways of Looking at a Blackbird Wallace Stevens

I Among twenty snowy mountains, The only moving thing Was the eye of the blackbird. II I was of three minds, Like a tree In which there are three blackbirds. III The blackbird whirled in the autumn winds. It was a small part of the pantomime. IV A man and a woman Are one. A man and a woman and a blackbird Are one. V I do not know which to prefer, The beauty of inflections Or the beauty of innuendoes, The blackbird whistling Or just after. VI Icicles filled the long window With barbaric glass. The shadow of the blackbird Crossed it, to and fro. The mood Traced in the shadow An indecipherable cause. VII O thin men of Haddam, Why do you imagine golden birds? Do you not see how the blackbird Walks around the feet Of the women about you? VIII I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. IX When the blackbird flew out of sight, It marked the edge Of one of many circles. X At the sight of blackbirds Flying in a green light, Even the bawds of euphony Would cry out sharply. XI He rode over Connecticut In a glass coach. Once, a fear pierced him, In that he mistook The shadow of his equipage For blackbirds. XII The river is moving. The blackbird must be flying. XIII It was evening all afternoon. It was snowing And it was going to snow. The blackbird sat In the cedar-limbs.

I Hear America Singing Walt Whitman

I hear America singing, the varied carols I hear, Those of mechanics, each one singing his as it should be blithe and strong, The carpenter singing his as he measures his plank or beam, The mason singing his as he makes ready for work, or leaves off work, The boatman singing what belongs to him in his boat, the deckhand singing on the steamboat deck, The shoemaker singing as he sits on his bench, the hatter singing as he stands, The wood-cutter's song, the ploughboy's on his way in the morning, or at noon intermission or at sundown, The delicious singing of the mother, or of the young wife at work, or of the girl sewing or washing, Each singing what belongs to him or her and to none else, The day what belongs to the day—at night the party of young fellows, robust, friendly, Singing with open mouths their strong melodious songs.

465 ("I heard a fly buzz") Emily Dickinson

I heard a Fly buzz - when I died - The Stillness in the Room Was like the Stillness in the Air - Between the Heaves of Storm - The Eyes around - had wrung them dry - And Breaths were gathering firm For that last Onset - when the King Be witnessed - in the Room - I willed my Keepsakes - Signed away What portion of me be Assignable - and then it was There interposed a Fly - With Blue - uncertain - stumbling Buzz - Between the light - and me - And then the Windows failed - and then I could not see to see -

Sympathy Paul Lawrence Dunbar

I know what the caged bird feels, alas! When the sun is bright on the upland slopes; When the wind stirs soft through the springing grass, And the river flows like a stream of glass; When the first bird sings and the first bud opes, And the faint perfume from its chalice steals— I know what the caged bird feels! I know why the caged bird beats his wing Till its blood is red on the cruel bars; For he must fly back to his perch and cling When he fain would be on the bough a-swing; And a pain still throbs in the old, old scars And they pulse again with a keener sting— I know why he beats his wing! I know why the caged bird sings, ah me, When his wing is bruised and his bosom sore,— When he beats his bars and he would be free; It is not a carol of joy or glee, But a prayer that he sends from his heart's deep core, But a plea, that upward to Heaven he flings— I know why the caged bird sings!

To a Dark Girl Gwendolyn Bennett

I love you for your brownness, And the rounded darkness of your breast, I love you for the breaking sadness in your voice And shadows where your wayward eyelids rest. Something of old forgotten queens Lurks in the lithe abandon of your walk And something of the shackled slave Sobs in the rhythm of your talk. Oh, little brown girl, born for sorrow's mate, Keep all you have of queenliness, Forgetting that you once were slave, And let your full lips laugh at Fate!

The Colossus Sylvia Plath

I shall never get you put together entirely, Pieced, glued, and properly jointed. Mule-bray, pig-grunt and bawdy cackles Proceed from your great lips. It's worse than a barnyard. Perhaps you consider yourself an oracle, Mouthpiece of the dead, or of some god or other. Thirty years now I have labored To dredge the silt from your throat. I am none the wiser. Scaling little ladders with glue pots and pails of lysol I crawl like an ant in mourning Over the weedy acres of your brow To mend the immense skull plates and clear The bald, white tumuli of your eyes. A blue sky out of the Oresteia Arches above us. O father, all by yourself You are pithy and historical as the Roman Forum. I open my lunch on a hill of black cypress. Your fluted bones and acanthine hair are littered In their old anarchy to the horizon-line. It would take more than a lightning-stroke To create such a ruin. Nights, I squat in the cornucopia Of your left ear, out of the wind, Counting the red stars and those of plum-color. The sun rises under the pillar of your tongue. My hours are married to shadow. No longer do I listen for the scrape of a keel On the blank stones of the landing.

Lucinda Matlock Edgar Lee Masters

I went to the dances at Chandlerville, And played snap-out at Winchester. One time we changed partners, Driving home in the moonlight of middle June, And then I found Davis. We were married and lived together for seventy years, Enjoying, working, raising the twelve children, Eight of whom we lost Ere I had reached the age of sixty. I spun, I wove, I kept the house, I nursed the sick, I made the garden, and for holiday Rambled over the fields where sang the larks, And by Spoon River gathering many a shell, And many a flower and medicinal weed — Shouting to the wooded hills, singing to the green valleys. At ninety-six I had lived enough, that is all, And passed to a sweet repose. What is this I hear of sorrow and weariness, Anger, discontent and drooping hopes? Degenerate sons and daughters, Life is too strong for you — It takes life to love Life.

The Lake Isle of Innisfree W. B. Yeats

I will arise and go now, and go to Innisfree, And a small cabin build there, of clay and wattles made: Nine bean-rows will I have there, a hive for the honey-bee; And live alone in the bee-loud glade. And I shall have some peace there, for peace comes dropping slow, Dropping from the veils of the morning to where the cricket sings; There midnight's all a glimmer, and noon a purple glow, And evening full of the linnet's wings. I will arise and go now, for always night and day I hear lake water lapping with low sounds by the shore; While I stand on the roadway, or on the pavements grey, I hear it in the deep heart's core.

I, Being Born a Woman Edna St. Vincent Millay

I, being born a woman and distressed By all the needs and notions of my kind, Am urged by your propinquity to find Your person fair, and feel a certain zest To bear your body's weight upon my breast: So subtly is the fume of life designed, To clarify the pulse and cloud the mind, And leave me once again undone, possessed. Think not for this, however, the poor treason Of my stout blood against my staggering brain, I shall remember you with love, or season My scorn with pity, —let me make it plain: I find this frenzy insufficient reason For conversation when we meet again.

A Musical Instrument Elizabeth Barrett Browning

I. WHAT was he doing, the great god Pan, Down in the reeds by the river ? Spreading ruin and scattering ban, Splashing and paddling with hoofs of a goat, And breaking the golden lilies afloat With the dragon-fly on the river. II. He tore out a reed, the great god Pan, From the deep cool bed of the river : The limpid water turbidly ran, And the broken lilies a-dying lay, And the dragon-fly had fled away, Ere he brought it out of the river. III. High on the shore sate the great god Pan, While turbidly flowed the river ; And hacked and hewed as a great god can, With his hard bleak steel at the patient reed, Till there was not a sign of a leaf indeed To prove it fresh from the river. IV. He cut it short, did the great god Pan, (How tall it stood in the river !) Then drew the pith, like the heart of a man, Steadily from the outside ring, And notched the poor dry empty thing In holes, as he sate by the river. V. This is the way,' laughed the great god Pan, Laughed while he sate by the river,) The only way, since gods began To make sweet music, they could succeed.' Then, dropping his mouth to a hole in the reed, He blew in power by the river. VI. Sweet, sweet, sweet, O Pan ! Piercing sweet by the river ! Blinding sweet, O great god Pan ! The sun on the hill forgot to die, And the lilies revived, and the dragon-fly Came back to dream on the river. VII. Yet half a beast is the great god Pan, To laugh as he sits by the river, Making a poet out of a man : The true gods sigh for the cost and pain, — For the reed which grows nevermore again As a reed with the reeds in the river.

Early Occult Memory Systems of the Lower Midwest B.H. Fairchild

In his fifth year the son, deep in the backseat of his father's Ford and the mysterium of time, holds time in memory with words, night, this night, on the way to a stalled rig south of Kiowa Creek where the plains wind stacks the skeletons of weeds on barbed-wire fences and rattles the battered DeKalb sign to make the child think of time in its passing, of death. Cattle stare at flat-bed haulers gunning clumps of black smoke and lugging damaged drill pipe up the gullied, mud-hollowed road. Road, this road. Roustabouts shouting from the crow's nest float like Ascension angels on a ring of lights. Chokecherries gouge the purpled sky, cloud- swags running the moon under, and starlight rains across the Ford's blue hood. Blue, this blue. Later, where black flies haunt the mud tank, the boy walks along the pipe rack dragging a stick across the hollow ends to make a kind of music, and the creek throbs with frog songs, locusts, the rasp of tree limbs blown and scattered. The great horse people, his father, these sounds, these shapes saved from time's dark creek as the car moves across the moving earth: world, this world.

Autumn Begins in Martin's Ferry, Ohio James Wright

In the Shreve High football stadium, I think of Polacks nursing long beers in Tiltonsville, And gray faces of Negroes in the blast furnace at Benwood, And the ruptured night watchman of Wheeling Steel, Dreaming of heroes. All the proud fathers are ashamed to go home, Their women cluck like starved pullets, Dying for love. Therefore, Their sons grow suicidally beautiful At the beginning of October, And gallop terribly against each other's bodies.

The Lamb William Blake

Little Lamb who made thee Dost thou know who made thee Gave thee life & bid thee feed. By the stream & o'er the mead; Gave thee clothing of delight, Softest clothing wooly bright; Gave thee such a tender voice, Making all the vales rejoice! Little Lamb who made thee Dost thou know who made thee Little Lamb I'll tell thee, Little Lamb I'll tell thee! He is called by thy name, For he calls himself a Lamb: He is meek & he is mild, He became a little child: I a child & thou a lamb, We are called by his name. Little Lamb God bless thee. Little Lamb God bless thee.

A Red, Red Rose Robert Burns

O my Luve is like a red, red rose That's newly sprung in June; O my Luve is like the melody That's sweetly played in tune. So fair art thou, my bonnie lass, So deep in luve am I; And I will luve thee still, my dear, Till a' the seas gang dry. Till a' the seas gang dry, my dear, And the rocks melt wi' the sun; I will love thee still, my dear, While the sands o' life shall run. And fare thee weel, my only luve! And fare thee weel awhile! And I will come again, my luve, Though it were ten thousand mile.

To a Mouse Robert Burns

On Turning up in Her Nest with the Plough, November, 1785 Wee, sleeket, cowran, tim'rous beastie, O, what a panic's in thy breastie! Thou need na start awa sae hasty, Wi' bickerin brattle! I wad be laith to rin an' chase thee Wi' murd'ring pattle! I'm truly sorry Man's dominion Has broken Nature's social union, An' justifies that ill opinion, Which makes thee startle, At me, thy poor, earth-born companion, An' fellow-mortal! I doubt na, whyles, but thou may thieve; What then? poor beastie, thou maun live! A daimen-icker in a thrave 'S a sma' request: I'll get a blessin wi' the lave, An' never miss 't! Thy wee-bit housie, too, in ruin! It's silly wa's the win's are strewin! An' naething, now, to big a new ane, O' foggage green! An' bleak December's winds ensuin, Baith snell an' keen! Thou saw the fields laid bare an' waste, An' weary Winter comin fast, An' cozie here, beneath the blast, Thou thought to dwell, Till crash! the cruel coulter past Out thro' thy cell. That wee-bit heap o' leaves an' stibble Has cost thee monie a weary nibble! Now thou's turn'd out, for a' thy trouble, But house or hald, To thole the Winter's sleety dribble, An' cranreuch cauld! But Mousie, thou art no thy-lane, In proving foresight may be vain: The best laid schemes o' Mice an' Men Gang aft agley, An' lea'e us nought but grief an' pain, For promis'd joy! Still, thou art blest, compar'd wi' me! The present only toucheth thee: But Och! I backward cast my e'e, On prospects drear! An' forward tho' I canna see, I guess an' fear!

Incident Countee Cullen

Once riding in old Baltimore, Heart-filled, head-filled with glee; I saw a Baltimorean Keep looking straight at me. Now I was eight and very small, And he was no whit bigger, And so I smiled, but he poked out His tongue, and called me, "******." I saw the whole of Baltimore From May until December; Of all the things that happened there That's all that I remember.

The Rime of the Ancient Mariner (Part 1) Samuel Taylor Coleridge

PART I It is an ancient Mariner, And he stoppeth one of three. 'By thy long grey beard and glittering eye, Now wherefore stopp'st thou me? The Bridegroom's doors are opened wide, And I am next of kin; The guests are met, the feast is set: May'st hear the merry din.' He holds him with his skinny hand, 'There was a ship,' quoth he. 'Hold off! unhand me, grey-beard loon!' Eftsoons his hand dropt he. He holds him with his glittering eye— The Wedding-Guest stood still, And listens like a three years' child: The Mariner hath his will. The Wedding-Guest sat on a stone: He cannot choose but hear; And thus spake on that ancient man, The bright-eyed Mariner. 'The ship was cheered, the harbour cleared, Merrily did we drop Below the kirk, below the hill, Below the lighthouse top. The Sun came up upon the left, Out of the sea came he! And he shone bright, and on the right Went down into the sea. Higher and higher every day, Till over the mast at noon—' The Wedding-Guest here beat his breast, For he heard the loud bassoon. The bride hath paced into the hall, Red as a rose is she; Nodding their heads before her goes The merry minstrelsy. The Wedding-Guest he beat his breast, Yet he cannot choose but hear; And thus spake on that ancient man, The bright-eyed Mariner. And now the STORM-BLAST came, and he Was tyrannous and strong: He struck with his o'ertaking wings, And chased us south along. With sloping masts and dipping prow, As who pursued with yell and blow Still treads the shadow of his foe, And forward bends his head, The ship drove fast, loud roared the blast, And southward aye we fled. And now there came both mist and snow, And it grew wondrous cold: And ice, mast-high, came floating by, As green as emerald. And through the drifts the snowy clifts Did send a dismal sheen: Nor shapes of men nor beasts we ken— The ice was all between. The ice was here, the ice was there, The ice was all around: It cracked and growled, and roared and howled, Like noises in a swound! At length did cross an Albatross, Thorough the fog it came; As if it had been a Christian soul, We hailed it in God's name. It ate the food it ne'er had eat, And round and round it flew. The ice did split with a thunder-fit; The helmsman steered us through! And a good south wind sprung up behind; The Albatross did follow, And every day, for food or play, Came to the mariner's hollo! In mist or cloud, on mast or shroud, It perched for vespers nine; Whiles all the night, through fog-smoke white, Glimmered the white Moon-shine.' 'God save thee, ancient Mariner! From the fiends, that plague thee thus!— Why look'st thou so?'—With my cross-bow I shot the ALBATROSS.

Sea Rose H.D.

Rose, harsh rose, marred and with stint of petals, meagre flower, thin, sparse of leaf, more precious than a wet rose single on a stem— you are caught in the drift. Stunted, with small leaf, you are flung on the sand, you are lifted in the crisp sand that drives in the wind. Can the spice-rose drip such acrid fragrance hardened in a leaf?

Petit, the Poet Edgar Lee Masters

Seeds in a dry pod, tick, tick, tick, Tick, tick, tick, like mites in a quarrel— Faint iambics that the full breeze wakens— But the pine tree makes a symphony thereof. Triolets, villanelles, rondels, rondeaus, Ballades by the score with the same old thought: The snows and the roses of yesterday are vanished; And what is love but a rose that fades? Life all around me here in the village: Tragedy, comedy, valor and truth, Courage, constancy, heroism, failure— All in the loom, and oh what patterns! Woodlands, meadows, streams and rivers— Blind to all of it all my life long. Triolets, villanelles, rondels, rondeaus, Seeds in a dry pod, tick, tick, tick, Tick, tick, tick, what little iambics, While Homer and Whitman roared in the pines?

Mending Wall Robert Frost

Something there is that doesn't love a wall, That sends the frozen-ground-swell under it, And spills the upper boulders in the sun; And makes gaps even two can pass abreast. The work of hunters is another thing: I have come after them and made repair Where they have left not one stone on a stone, But they would have the rabbit out of hiding, To please the yelping dogs. The gaps I mean, No one has seen them made or heard them made, But at spring mending-time we find them there. I let my neighbour know beyond the hill; And on a day we meet to walk the line And set the wall between us once again. We keep the wall between us as we go. To each the boulders that have fallen to each. And some are loaves and some so nearly balls We have to use a spell to make them balance: "Stay where you are until our backs are turned!" We wear our fingers rough with handling them. Oh, just another kind of out-door game, One on a side. It comes to little more: There where it is we do not need the wall: He is all pine and I am apple orchard. My apple trees will never get across And eat the cones under his pines, I tell him. He only says, "Good fences make good neighbours." Spring is the mischief in me, and I wonder If I could put a notion in his head: "Why do they make good neighbours? Isn't it Where there are cows? But here there are no cows. Before I built a wall I'd ask to know What I was walling in or walling out, And to whom I was like to give offence. Something there is that doesn't love a wall, That wants it down." I could say "Elves" to him, But it's not elves exactly, and I'd rather He said it for himself. I see him there Bringing a stone grasped firmly by the top In each hand, like an old-stone savage armed. He moves in darkness as it seems to me, Not of woods only and the shade of trees. He will not go behind his father's saying, And he likes having thought of it so well He says again, "Good fences make good neighbours."

Song (Love Armed) Aphra Behn

Song from Abdelazar Love in Fantastic Triumph sat, Whilst Bleeding Hearts around him flowed, For whom Fresh pains he did Create, And strange Tyrannic power he showed; From thy Bright Eyes he took his fire, Which round about, in sport he hurled; But 'twas from mine he took desire Enough to undo the Amorous World. From me he took his sighs and tears, From thee his Pride and Cruelty; From me his Languishments and Fears, And every Killing Dart from thee; Thus thou and I, the God have armed, And set him up a Deity; But my poor Heart alone is harmed, Whilst thine the Victor is, and free.

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; Fra Pandolf's hands Worked busily a day, and there she stands. Will't please you sit and look at her? I said "Fra 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 Fra 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 pretense 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!

Hearing Parker the First Time B.H. Fairchild

The blue notes spiraling up from the transistor radio tuned to WNOE, New Orleans, lifted me out of bed in Seward County, Kansas, where the plains wind riffed telephone wires in tones less strange than the bird songs of Charlie Parker. I played high school tenor sax the way, I thought, Coleman Hawkins and Lester Young might have if they were, like me, untalented and white, but Ornithology came winding up from the dark delta of blues and dixieland into my room on the treeless and hymn-ridden high plains like a dust devil spinning me into the Eleusinian mysteries of the jazz gods though later I would learn that his long apprenticeship in Kansas City and an eremite's devotion to the hard rule of craft gave him the hands that held the reins of the white horse that carried him to New York and 52nd Street, farther from wheat fields and dry creek beds than I would ever travel, and then carried him away.

The Diet Carol Ann Duffy

The diet worked like a dream. No sugar, salt, dairy, fat, protein, starch or alcohol. By the end of week one, she was half a stone shy of ten and shrinking, skipping breakfast, lunch, dinner, thinner; a fortnight in, she was eight stone; by the end of the month, she was skin and bone. She starved on, stayed in, stared in the mirror, svelter, slimmer. The last apple aged in the fruit bowl, untouched. The skimmed milk soured in the fridge, unsupped. Her skeleton preened under its tight flesh dress. She was all eyes, all cheekbones, had guns for hips. Not a stitch in the wardrobe fitted. What passed her lips? Air, water. She was Anorexia's true daughter, a slip of a girl, a shadow, dwindling away. One day, the width of a stick, she started to grow smaller - ~ child-sized, doll-sized, the height of a thimble. She sat at her open window and the wind blew her away. Seed small, she was out and about, looking for home. An empty beer bottle rolled in the gutter. She crawled in, got drunk on the dregs, started to sing, down, out, nobody's love. Tiny others joined in. They raved all night. She woke alone, head splitting, mouth dry, hungry and cold, and made for the light. She found she could fly on the wind, could breathe, if it rained, underwater. That night, she went to a hotel bar that she knew and floated into the barman's eye. She slept for hours, left at dawn in a blink, in a wink, drifted away on a breeze. Minute, she could suit herself from here on in, go where she pleased. She stayed near people, lay in the tent of a nostril like a germ, dwelled in the caves of an ear. She lived in a tear, swam clear, moved south to a mouth, kipped in the chap of a lip. She loved flesh and blood, wallowed in mud under fingernails, dossed in a fold of fat on a waist. But when she squatted the tip of a tongue, she was gulped, swallowed, sent down the hatch in a river of wine, bottoms up, cheers, fetched up in a stomach just before lunch. She crouched in the lining, hearing the avalanche munch of food, then it was carrots, peas, courgettes, potatoes, gravy and meat. Then it was sweet. Then it was stilton, roquefort, weisslacker-kase, gex; it was smoked salmon with scrambled eggs, hot boiled ham, plum flan, frogs' legs. She knew where she was all right, clambered onto the greasy breast of a goose, opened wide, then chomped and chewed and gorged; inside the Fat Woman now, trying to get out.

God's Grandeur Gerard Manley Hopkins

The world is charged with the grandeur of God. It will flame out, like shining from shook foil; It gathers to a greatness, like the ooze of oil Crushed. Why do men then now not reck his rod? Generations have trod, have trod, have trod; And all is seared with trade; bleared, smeared with toil; And wears man's smudge and shares man's smell: the soil Is bare now, nor can foot feel, being shod. And for all this, nature is never spent; There lives the dearest freshness deep down things; And though the last lights off the black West went Oh, morning, at the brown brink eastward, springs — Because the Holy Ghost over the bent World broods with warm breast and with ah! bright wings.

Ode: Intimations of Immortality (Parts 1-3) William Wordsworth

There was a time when meadow, grove, and stream, The earth, and every common sight To me did seem Apparelled in celestial light, The glory and the freshness of a dream. It is not now as it hath been of yore;— Turn wheresoe'er I may, By night or day, The things which I have seen I now can see no more. The rainbow comes and goes, And lovely is the rose; The moon doth with delight Look round her when the heavens are bare; Waters on a starry night Are beautiful and fair; The sunshine is a glorious birth; But yet I know, where'er I go, That there hath past away a glory from the earth. Now, while the birds thus sing a joyous song, And while the young lambs bound As to the tabor's sound, To me alone there came a thought of grief: A timely utterance gave that thought relief, And I again am strong. The cataracts blow their trumpets from the steep,— No more shall grief of mine the season wrong: I hear the echoes through the mountains throng. The winds come to me from the fields of sleep, And all the earth is gay; Land and sea Give themselves up to jollity, And with the heart of May Doth every beast keep holiday;— Thou child of joy, Shout round me, let me hear thy shouts, thou happy Shepherd-boy!

The Author to Her Book Anne Bradstreet

Thou ill-formed offspring of my feeble brain, Who after birth didst by my side remain, Till snatched from thence by friends, less wise than true, Who thee abroad, exposed to public view, Made thee in rags, halting to th' press to trudge, Where errors were not lessened (all may judge). At thy return my blushing was not small, My rambling brat (in print) should mother call, I cast thee by as one unfit for light, The visage was so irksome in my sight; Yet being mine own, at length affection would Thy blemishes amend, if so I could. I washed thy face, but more defects I saw, And rubbing off a spot still made a flaw. I stretched thy joints to make thee even feet, Yet still thou run'st more hobbling than is meet; In better dress to trim thee was my mind, But nought save homespun cloth i' th' house I find. In this array 'mongst vulgars may'st thou roam. In critic's hands beware thou dost not come, And take thy way where yet thou art not known; If for thy father asked, say thou hadst none; And for thy mother, she alas is poor, Which caused her thus to send thee out of door.

The Tyger 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?

The Colonel Carolyn Forché

WHAT YOU HAVE HEARD is true. I was in his house. His wife carried a tray of coffee and sugar. His daughter filed her nails, his son went out for the night. There were daily papers, pet dogs, a pistol on the cushion beside him. The moon swung bare on its black cord over the house. On the television was a cop show. It was in English. Broken bottles were embedded in the walls around the house to scoop the kneecaps from a man's legs or cut his hands to lace. On the windows there were gratings like those in liquor stores. We had dinner, rack of lamb, good wine, a gold bell was on the table for calling the maid. The maid brought green mangoes, salt, a type of bread. I was asked how I enjoyed the country. There was a brief commercial in Spanish. His wife took everything away. There was some talk then of how difficult it had become to govern. The parrot said hello on the terrace. The colonel told it to shut up, and pushed himself from the table. My friend said to me with his eyes: say nothing. The colonel returned with a sack used to bring groceries home. He spilled many human ears on the table. They were like dried peach halves. There is no other way to say this. He took one of them in his hands, shook it in our faces, dropped it into a water glass. It came alive there. I am tired of fooling around he said. As for the rights of anyone, tell your people they can go **** them- selves. He swept the ears to the floor with his arm and held the last of his wine in the air. Something for your poetry, no? he said. Some of the ears on the floor caught this scrap of his voice. Some of the ears on the floor were pressed to the ground.

We Assume: On the Death of Our Son, Rueben Masai Harper Michael S. Harper

We assume that in 28 hours, lived in a collapsible isolette, you learned to accept pure oxygen as the natural sky; the scant shallow breaths that filled those hours cannot, did not make you fly-- but dreams were there like crooked palmprints on the twin-thick windows of the nursery-- in the glands of your mother. We assume the sterile hands drank chemicals in and out from lungs opaque with mucus, pumped your stomach, eeked the bicarbonate in crooked, green-winged veins, out in a plastic mask; A woman who'd lost her first son consoled us with an angel gone ahead to pray for our family-- gone into that sky seeking oxygen, gone into autopsy, a fine brown powdered sugar, a disposable cremation: We assume you did not know we loved you.

We Wear the Mask Paul Laurence Dunbar

We wear the mask that grins and lies, It hides our cheeks and shades our eyes,— This debt we pay to human guile; With torn and bleeding hearts we smile, And mouth with myriad subtleties. Why should the world be over-wise, In counting all our tears and sighs? Nay, let them only see us, while We wear the mask. We smile, but, O great Christ, our cries To thee from tortured souls arise. We sing, but oh the clay is vile Beneath our feet, and long the mile; But let the world dream otherwise, We wear the mask!

When I Consider How My Light Is Spent John Milton

When I consider how my light is spent, Ere half my days in this dark world and wide, And that one talent which is death to hide Lodged with me useless, though my soul more bent To serve therewith my Maker, and present My true account, lest He returning chide; "Doth God exact day-labor, light denied?" I fondly ask. But Patience, to prevent That murmur, soon replies, "God doth not need Either man's work or His own gifts. Who best Bear His mild yoke, they serve Him best. His state Is kingly: thousands at His bidding speed, And post o'er land and ocean without rest; They also serve who only stand and wait."

Richard Cory Edwin Arlington Robinson

Whenever Richard Cory went down town, We people on the pavement looked at him: He was a gentleman from sole to crown, Clean favored, and imperially slim. And he was always quietly arrayed, And he was always human when he talked; But still he fluttered pulses when he said, "Good-morning," and he glittered when he walked. And he was rich—yes, richer than a king— And admirably schooled in every grace: In fine, we thought that he was everything To make us wish that we were in his place. So on we worked, and waited for the light, And went without the meat, and cursed the bread; And Richard Cory, one calm summer night, Went home and put a bullet through his head.

The Stolen Child W. B. Yeats

Where dips the rocky highland Of Sleuth Wood in the lake, There lies a leafy island Where flapping herons wake The drowsy water rats; There we've hid our faery vats, Full of berrys And of reddest stolen cherries. Come away, O human child! To the waters and the wild With a faery, hand in hand, For the world's more full of weeping than you can understand. Where the wave of moonlight glosses The dim gray sands with light, Far off by furthest Rosses We foot it all the night, Weaving olden dances Mingling hands and mingling glances Till the moon has taken flight; To and fro we leap And chase the frothy bubbles, While the world is full of troubles And anxious in its sleep. Come away, O human child! To the waters and the wild With a faery, hand in hand, For the world's more full of weeping than you can understand. Where the wandering water gushes From the hills above Glen-Car, In pools among the rushes That scarce could bathe a star, We seek for slumbering trout And whispering in their ears Give them unquiet dreams; Leaning softly out From ferns that drop their tears Over the young streams. Come away, O human child! To the waters and the wild With a faery, hand in hand, For the world's more full of weeping than you can understand. Away with us he's going, The solemn-eyed: He'll hear no more the lowing Of the calves on the warm hillside Or the kettle on the hob Sing peace into his breast, Or see the brown mice bob Round and round the oatmeal chest. For he comes, the human child, To the waters and the wild With a faery, hand in hand, For the world's more full of weeping than he can understand.

Deep Image Poets

Who freaking knows?

Daddy Sylvia Plath

You do not do, you do not do Any more, black shoe In which I have lived like a foot For thirty years, poor and white, Barely daring to breathe or Achoo. Daddy, I have had to kill you. You died before I had time—— Marble-heavy, a bag full of God, Ghastly statue with one gray toe Big as a Frisco seal And a head in the freakish Atlantic Where it pours bean green over blue In the waters off beautiful Nauset. I used to pray to recover you. Ach, du. In the German tongue, in the Polish town Scraped flat by the roller Of wars, wars, wars. But the name of the town is common. My Polack friend Says there are a dozen or two. So I never could tell where you Put your foot, your root, I never could talk to you. The tongue stuck in my jaw. It stuck in a barb wire snare. Ich, ich, ich, ich, I could hardly speak. I thought every German was you. And the language obscene An engine, an engine Chuffing me off like a Jew. A Jew to Dachau, Auschwitz, Belsen. I began to talk like a Jew. I think I may well be a Jew. The snows of the Tyrol, the clear beer of Vienna Are not very pure or true. With my gipsy ancestress and my weird luck And my Taroc pack and my Taroc pack I may be a bit of a Jew. I have always been scared of you, With your Luftwaffe, your gobbledygoo. And your neat mustache And your Aryan eye, bright blue. Panzer-man, panzer-man, O You—— Not God but a swastika So black no sky could squeak through. Every woman adores a Fascist, The boot in the face, the brute Brute heart of a brute like you. You stand at the blackboard, daddy, In the picture I have of you, A cleft in your chin instead of your foot But no less a devil for that, no not Any less the black man who Bit my pretty red heart in two. I was ten when they buried you. At twenty I tried to die And get back, back, back to you. I thought even the bones would do. But they pulled me out of the sack, And they stuck me together with glue. And then I knew what to do. I made a model of you, A man in black with a Meinkampf look And a love of the rack and the screw. And I said I do, I do. So daddy, I'm finally through. The black telephone's off at the root, The voices just can't worm through. If I've killed one man, I've killed two—— The vampire who said he was you And drank my blood for a year, Seven years, if you want to know. Daddy, you can lie back now. There's a stake in your fat black heart And the villagers never liked you. They are dancing and stamping on you. They always knew it was you. Daddy, daddy, you bastard, I'm through.

Conceit

a fanciful expression in writing or speech; an elaborate metaphor

Metaphor

a figure of speech that describes an object or action in a way that isn't literally true, but helps explain an idea or make a comparison

Iambic Pentameter

a line of verse with five metrical feet, each consisting of one short (or unstressed) syllable followed by one long (or stressed) syllable most common meter in English poetry

Dear John, Dear Coltrane Michael S. Harper

a love supreme, a love supreme a love supreme, a love supreme Sex fingers toes in the marketplace near your father's church in Hamlet, North Carolina— witness to this love in this calm fallow of these minds, there is no substitute for pain: genitals gone or going, seed burned out, you tuck the roots in the earth, turn back, and move by river through the swamps, singing: a love supreme, a love supreme; what does it all mean? Loss, so great each black woman expects your failure in mute change, the seed gone. You plod up into the electric city— your song now crystal and the blues. You pick up the horn with some will and blow into the freezing night: a love supreme, a love supreme— Dawn comes and you cook up the thick sin 'tween impotence and death, fuel the tenor sax cannibal heart, genitals, and sweat that makes you clean— a love supreme, a love supreme— Why you so black? cause I am why you so funky? cause I am why you so black? cause I am why you so sweet? cause I am why you so black? cause I am a love supreme, a love supreme: So sick you couldn't play Naima, so flat we ached for song you'd concealed with your own blood, your diseased liver gave out its purity, the inflated heart pumps out, the tenor kiss, tenor love: a love supreme, a love supreme— a love supreme, a love supreme—

Image

a mental picture summoned up by a word, phrase, or sentence often visual, but may appeal to any of our senses: sight, hearing, smell, taste and touch

Imagism

a movement in early 20th-century English and American poetry that sought clarity of expression through the use of precise images

Caesura

a pause near the middle of a line

Dramatic Monologue

a poem in the form of a speech or narrative by an imagined person, in which the speaker inadvertently reveals aspects of their character while describing a particular situation or series of events

Half Rhyme

a rhyme in which the stressed syllables of ending consonants match, however the preceding vowel sounds do not match AKA: imperfect, slant, near, oblique

Ekphrastic Poetry

a vivid description of a scene or, more commonly, a work of art

Rhyme

correspondence of sound between words or the endings of words, especially when these are used at the ends of lines of poetry

Lyric Poetry

expresses the thoughts and feelings of the poet Very reliant on the us of image expresses intense personal emotion in a manner suggestive of a song Includes: elegies, odes, and sonnets

Formal Poetry

formal verse with a strict meter and rhyme scheme

Alliteration

occurrence of the same letter or sound at the beginning of adjacent or closely connected words

free verse

poems that don't rhyme or have a meter

Enjambment

sentence/idea continues on beyond the line/stanza

End-Stopped Lines

sentence/idea ends at the line with punctuation so there is most likely a vocal pause

Narrative Poetry

tells a story, often making the voices of a narrator and characters as well usually written in metered verse Includes: epics, ballads, idylls, and lays

The fallacy of authorial intent

the design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art

The Metaphysical Poets

they used detailed, expanded metaphors (conceits)