John Donne, "RESURRECTION, IMPERFECT"

SLEEP, sleep, old sun, thou canst not have repass'd,
As yet, the wound thou took'st on Friday last ;
Sleep then, and rest ; the world may bear thy stay ;
A better sun rose before thee to-day ;
Who—not content to enlighten all that dwell
On the earth's face, as thou—enlighten'd hell,
And made the dark fires languish in that vale,
As at thy presence here our fires grow pale ;
Whose body, having walk'd on earth, and now
Hasting to heaven, would—that He might allow
Himself unto all stations, and fill all—
For these three days become a mineral.
He was all gold when He lay down, but rose
All tincture, and doth not alone dispose
Leaden and iron wills to good, but is
Of power to make e'en sinful flesh like his.
Had one of those, whose credulous piety
Thought that a soul one might discern and see
Go from a body, at this sepulchre been,
And, issuing from the sheet, this body seen,
He would have justly thought this body a soul,
If not of any man, yet of the whole.

W.H. Auden, "Tell Me the True About Love"

Some say love's a little boy,
And some say it's a bird,
Some say it makes the world go around,
Some say that's absurd,
And when I asked the man next-door,
Who looked as if he knew,
His wife got very cross indeed,
And said it wouldn't do.

Does it look like a pair of pyjamas,
Or the ham in a temperance hotel?
Does its odour remind one of llamas,
Or has it a comforting smell?
Is it prickly to touch as a hedge is,
Or soft as eiderdown fluff?
Is it sharp or quite smooth at the edges?
O tell me the truth about love.

Our history books refer to it
In cryptic little notes,
It's quite a common topic on
The Transatlantic boats;
I've found the subject mentioned in
Accounts of suicides,
And even seen it scribbled on
The backs of railway guides.

Does it howl like a hungry Alsatian,
Or boom like a military band?
Could one give a first-rate imitation
On a saw or a Steinway Grand?
Is its singing at parties a riot?
Does it only like Classical stuff?
Will it stop when one wants to be quiet?
O tell me the truth about love.

I looked inside the summer-house;
It wasn't over there;
I tried the Thames at Maidenhead,
And Brighton's bracing air.
I don't know what the blackbird sang,
Or what the tulip said;
But it wasn't in the chicken-run,
Or underneath the bed.

Can it pull extraordinary faces?
Is it usually sick on a swing?
Does it spend all its time at the races,
or fiddling with pieces of string?
Has it views of its own about money?
Does it think Patriotism enough?
Are its stories vulgar but funny?
O tell me the truth about love.

When it comes, will it come without warning
Just as I'm picking my nose?
Will it knock on my door in the morning,
Or tread in the bus on my toes?
Will it come like a change in the weather?
Will its greeting be courteous or rough?
Will it alter my life altogether?
O tell me the truth about love.

Natalie Merchant - Thick as Thieves

Jim Croce - Time in a Bottle - 1972

Conversation in the Face of Silence: Joseph Brodsky

Silence is the future of the days
that roll toward speech, with all we emphasize
in it, as, in our greetings, silence pays
respect to unavoidable goodbyes.
Silence is the future of the words
whose vowels have gobbled up internally
the stuff of things, things with terror towards
their corners; a wave that cloaks eternity.
Silence is the future of our love;
a space, not an impediment, a space
depriving love's blood-throbbed falsetto of
its echo, of its natural response.
Silence is the present for men
who lived before us. And, procuress-like,
silence gathers all together in
itself, admitted by the speech-filled present. Life
is but a conversation in the face
of silence.

Joseph Brodsky, "Gorbunov and Gorchakov" - trans. Harry Thomas and Joseph Brodsky, revised and edited by Ann Kjellberg in Collected Poems in English

Hart Crane - Realities plunge in silence by...

Legend

As silent as a mirror is believed
Realities plunge in silence by . . .

I am not ready for repentance;
Nor to match regrets. For the moth
Bends no more than the still
Imploring flame. And tremorous
In the white falling flakes
Kisses are,--
The only worth all granting.

It is to be learned--
This cleaving and this burning,
But only by the one who
Spends out himself again.

Twice and twice
(Again the smoking souvenir,
Bleeding eidolon!) and yet again.
Until the bright logic is won
Unwhispering as a mirror
Is believed.

Then, drop by caustic drop, a perfect cry
Shall string some constant harmony,--
Relentless caper for all those who step
The legend of their youth into the noon.

Hart Crane, Complete Poems & Selected Letters (Library of American)

Dark, Salt, Clear, Utterly Free: Elizabeth Bishop

Elizabeth Bishop

From "At the Fishhouses"

Cold dark deep and absolutely clear,
element bearable to no mortal,
to fish and to seals...
Cold dark deep and absolutely clear,
the clear gray icy water...
If you tasted it, it would first taste bitter,
then briny, then surely burn your tongue.
It is like what we imagine knowledge to be:
dark, salt, clear, moving, utterly free,
drawn from the cold hard mouth
of the world, derived from the rocky breasts
forever, flowing and drawn, and since
our knowledge is historical, flowing and flown.

In this section of the poem, Bishop is speaking of the sea and of the sea as a metaphor for knowledge.