Here are some of our favourite poems. Feel free to suggest others via our CONTACT US page. Enjoy!
The Prisoner
Emily Brontë (1818-1848)
Emily Brontë, in full Emily Jane Brontë, pseudonym Ellis Bell, English novelist and poet who produced but one novel, Wuthering Heights (1847), a highly imaginative work of passion and hate set on the Yorkshire moors.
A fragment.
In the dungeon-crypts idly did I stray,
Reckless of the lives wasting there away;
“Draw the ponderous bars! open, Warder stern!”
He dared not say me nay—the hinges harshly turn.
“Our guests are darkly lodged,” I whisper’d, gazing through
The vault, whose grated eye showed heaven more gray than blue;
(This was when glad Spring laughed in awaking pride;)
“Ay, darkly lodged enough!” returned my sullen guide.
Then, God forgive my youth; forgive my careless tongue;
I scoffed, as the chill chains on the damp flagstones rung:
“Confined in triple walls, art thou so much to fear,
That we must bind thee down and clench thy fetters here?”
The captive raised her face; it was as soft and mild
As sculptured marble saint, or slumbering unwean’d child;
It was so soft and mild, it was so sweet and fair,
Pain could not trace a line, nor grief a shadow there!
The captive raised her hand and pressed it to her brow;
“I have been struck,” she said, “and I am suffering now;
Yet these are little worth, your bolts and irons strong;
And, were they forged in steel, they could not hold me long.”
Hoarse laughed the jailor grim: “Shall I be won to hear;
Dost think, fond, dreaming wretch, that I shall grant thy prayer?
Or, better still, wilt melt my master’s heart with groans?
Ah! sooner might the sun thaw down these granite stones.
“My master’s voice is low, his aspect bland and kind,
But hard as hardest flint the soul that lurks behind;
And I am rough and rude, yet not more rough to see
Than is the hidden ghost that has its home in me.”
About her lips there played a smile of almost scorn,
“My friend,” she gently said, “you have not heard me mourn;
When you my kindred’s lives, MY lost life, can restore,
Then may I weep and sue,—but never, friend, before!
“Still, let my tyrants know, I am not doomed to wear
Year after year in gloom, and desolate despair;
A messenger of Hope comes every night to me,
And offers for short life, eternal liberty.
“He comes with western winds, with evening’s wandering airs,
With that clear dusk of heaven that brings the thickest stars.
Winds take a pensive tone, and stars a tender fire,
And visions rise, and change, that kill me with desire.
“Desire for nothing known in my maturer years,
When Joy grew mad with awe, at counting future tears.
When, if my spirit’s sky was full of flashes warm,
I knew not whence they came, from sun or thunder-storm.
“But, first, a hush of peace—a soundless calm descends;
The struggle of distress, and fierce impatience ends;
Mute music soothes my breast—unuttered harmony,
That I could never dream, till Earth was lost to me.
“Then dawns the Invisible; the Unseen its truth reveals;
My outward sense is gone, my inward essence feels:
Its wings are almost free—its home, its harbour found,
Measuring the gulph, it stoops and dares the final bound,
“Oh I dreadful is the check—intense the agony—
When the ear begins to hear, and the eye begins to see;
When the pulse begins to throb, the brain to think again;
The soul to feel the flesh, and the flesh to feel the chain.
“Yet I would lose no sting, would wish no torture less;
The more that anguish racks, the earlier it will bless;
And robed in fires of hell, or bright with heavenly shine,
If it but herald death, the vision is divine!”
She ceased to speak, and we, unanswering, turned to go—
We had no further power to work the captive woe:
Her cheek, her gleaming eye, declared that man had given
A sentence, unapproved, and overruled by Heaven.
Love (III)
George Herbert (1593-1633)
George Herbert was born in 1593 and died in 1633. He was a Welsh poet, an orator, and a priest. Love (III) is part of The Church, the central section of George Herbert’s ‘The Temple’.
Love bade me welcome. Yet my soul drew back
Guilty of dust and sin.
But quick-eyed Love, observing me grow slack
From my first entrance in,
Drew nearer to me, sweetly questioning,
If I lacked any thing.
A guest, I answered, worthy to be here:
Love said, You shall be he.
I the unkind, ungrateful? Ah my dear,
I cannot look on thee.
Love took my hand, and smiling did reply,
Who made the eyes but I?
Truth Lord, but I have marred them: let my shame
Go where it doth deserve.
And know you not, says Love, who bore the blame?
My dear, then I will serve.
You must sit down, says Love, and taste my meat:
So I did sit and eat.
How Do I Love Thee? (Sonnet 43)
Elizabeth Barrett Browning (1806-1861)
Sonnet 43 expresses the poet’s intense love for her husband-to-be, Robert Browning. So intense is her love for him that it rises to the spiritual level (lines 3 and 4). She loves him freely, without coercion; she loves him purely, without expectation of personal gain.
How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of being and ideal grace.
I love thee to the level of every day’s
Most quiet need, by sun and candle-light.
I love thee freely, as men strive for right.
I love thee purely, as they turn from praise.
I love thee with the passion put to use
In my old griefs, and with my childhood’s faith.
I love thee with a love I seemed to lose
With my lost saints. I love thee with the breath,
Smiles, tears, of all my life; and, if God choose,
I shall but love thee better after death.
Not Waving but Drowning
Stevie Smith (1902-1971)
This poem was published in 1957 as part of a collection of the same title. It gives an account of a drowned man whose distressed thrashing in the water had been mistaken for waving. It provides society’s absolute indifferent stance toward victims.
Nobody heard him, the dead man,
But still he lay moaning:
I was much further out than you thought
And not waving but drowning.
Poor chap, he always loved larking
And now he’s dead
It must have been too cold for him his heart gave way,
They said.
Oh, no no no, it was too cold always
(Still the dead one lay moaning)
I was much too far out all my life
And not waving but drowning.
Do not Stand at my Grave and Weep
Mary Elizabeth Frye (1905-2004)
In this touching poem, Mary Frye speaks of death in a welcoming tone. She offers words of comfort for those who would mourn for her at her passing, and she seems to welcome death not as the ending of a life, but as the beginning of another.
Do not stand at my grave and weep,
I am not there, I do not sleep.
I am in a thousand winds that blow,
I am the softly falling snow.
I am the gentle showers of rain,
I am the fields of ripening grain.
I am in the morning hush,
I am in the graceful rush
Of beautiful birds in circling flight,
I am the starshine of the night.
I am in the flowers that bloom,
I am in a quiet room.
I am in the birds that sing,
I am in each lovely thing.
Do not stand at my grave and cry,
I am not there. I do not die.
Tarantella
Hilaire Belloc (1879-1953)
The Miranda in “Tarantella” is Miranda Mackintosh whom Belloc met at an inn in the Pyrenean hamlet of Canranc on the River Aragon in 1909. The poem, written twenty years later, was a New Year’s present to the Scottish Miranda. “For Miranda: New Year’s 1929.”
Do you remember an Inn, Miranda?
Do you remember an Inn?
And the tedding and the spreading
Of straw for a bedding.
And the fleas that tease in the High Pyrenees,
And the wine that tasted of the tar?
And the cheers and the jeers of the young muleteers
(Under The shade of Vine verandah)?
Do you remember an Inn, Miranda?
Do you remember an Inn?
And the cheers and the jeers of the young muleteers
Who hadn’t got a penny,
And who weren’t paying any,
And the hammer at the doors and the din?
And the Hip Hop Hap!
Of The clap
Of the hands to the twirl and the swirl
Of the girl gone chancing,
Glancing,
Dancing,
Backing and advancing,
Snapping of the clapper to the spin
Out and in….
And the Ting Tong Tang of the guitar!
Do you remember an Inn, Miranda?
Do You Remember an Inn?
Nevermore; Miranda,
Never More.
Only the High Peaks hoar:
And Aragon a torrent at the door.
No sound
In the walls of the
Halls where falls
The tread Of
The feet of the dead to the ground.
No sound.
Only The boom
Of the far waterfall like doom.
Warming her Pearls
Carol Ann Duffy (1955- )
“Warming Her Pearls” tells the story of a maid, or female servant, who secretly pines for her mistress day and night. She delights in wearing her mistress’s pearls, warming them to bring out their luster before her mistress wears them.
Next to my own skin, her pearls. My mistress
bids me wear them, warm them, until evening
when I’ll brush her hair. At six, I place them
round her cool, white throat. All day I think of her,
resting in the Yellow Room, contemplating silk
or taffeta, which gown tonight? She fans herself
whilst I work willingly, my slow heat entering
each pearl. Slack on my neck, her rope.
She’s beautiful. I dream about her
in my attic bed; picture her dancing
with tall men, puzzled by my faint, persistent scent
beneath her French perfume, her milky stones.
I dust her shoulders with a rabbit’s foot,
watch the soft blush seep through her skin
like an indolent sigh. In her looking-glass
my red lips part as though I want to speak.
Full moon. Her carriage brings her home. I see
her every movement in my head…. Undressing,
taking off her jewels, her slim hand reaching
for the case, slipping naked into bed, the way
she always does…. And I lie here awake,
knowing the pearls are cooling even now
in the room where my mistress sleeps. All night
I feel their absence and I burn.
The Road not Taken
Robert Frost (1874-1963)
This poem offers a profound perception of decision making. The traveler comes across a path that diverges into two and he is in a dilemma regarding which path to choose. This hides a deep meaning behind it.
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
The Highwayman
Alfred Noyes (1880-1958)
The poem, set in 18th-century rural England tells the story of an unnamed highwayman who is in love with Bess, the landlord’s daughter. A highwayman, typically on horseback, held up travellers at gunpoint in order to rob them. Betrayed to the authorities by Tim, a jealous stableman, the highwayman escapes ambush when Bess sacrifices her life to warn him.
PART ONE
The wind was a torrent of darkness among the gusty trees.
The moon was a ghostly galleon tossed upon cloudy seas.
The road was a ribbon of moonlight over the purple moor,
And the highwayman came riding—
Riding—riding—
The highwayman came riding, up to the old inn-door.
He’d a French cocked-hat on his forehead, a bunch of lace at his chin,
A coat of the claret velvet, and breeches of brown doe-skin.
They fitted with never a wrinkle. His boots were up to the thigh.
And he rode with a jewelled twinkle,
His pistol butts a-twinkle,
His rapier hilt a-twinkle, under the jewelled sky.
Over the cobbles he clattered and clashed in the dark inn-yard.
He tapped with his whip on the shutters, but all was locked and barred.
He whistled a tune to the window, and who should be waiting there
But the landlord’s black-eyed daughter,
Bess, the landlord’s daughter,
Plaiting a dark red love-knot into her long black hair.
And dark in the dark old inn-yard a stable-wicket creaked
Where Tim the ostler listened. His face was white and peaked.
His eyes were hollows of madness, his hair like mouldy hay,
But he loved the landlord’s daughter,
The landlord’s red-lipped daughter.
Dumb as a dog he listened, and he heard the robber say—
“One kiss, my bonny sweetheart, I’m after a prize to-night,
But I shall be back with the yellow gold before the morning light;
Yet, if they press me sharply, and harry me through the day,
Then look for me by moonlight,
Watch for me by moonlight,
I’ll come to thee by moonlight, though hell should bar the way.”
He rose upright in the stirrups. He scarce could reach her hand,
But she loosened her hair in the casement. His face burnt like a brand
As the black cascade of perfume came tumbling over his breast;
And he kissed its waves in the moonlight,
(O, sweet black waves in the moonlight!)
Then he tugged at his rein in the moonlight, and galloped away to the west.
PART TWO
He did not come in the dawning. He did not come at noon;
And out of the tawny sunset, before the rise of the moon,
When the road was a gypsy’s ribbon, looping the purple moor,
A red-coat troop came marching—
Marching—marching—
King George’s men came marching, up to the old inn-door.
They said no word to the landlord. They drank his ale instead.
But they gagged his daughter, and bound her, to the foot of her narrow bed.
Two of them knelt at her casement, with muskets at their side!
There was death at every window;
And hell at one dark window;
For Bess could see, through her casement, the road that he would ride.
They had tied her up to attention, with many a sniggering jest.
They had bound a musket beside her, with the muzzle beneath her breast!
“Now, keep good watch!” and they kissed her. She heard the doomed man say—
Look for me by moonlight;
Watch for me by moonlight;
I’ll come to thee by moonlight, though hell should bar the way!
She twisted her hands behind her; but all the knots held good!
She writhed her hands till her fingers were wet with sweat or blood!
They stretched and strained in the darkness, and the hours crawled by like years
Till, now, on the stroke of midnight,
Cold, on the stroke of midnight,
The tip of one finger touched it! The trigger at least was hers!
The tip of one finger touched it. She strove no more for the rest.
Up, she stood up to attention, with the muzzle beneath her breast.
She would not risk their hearing; she would not strive again;
For the road lay bare in the moonlight;
Blank and bare in the moonlight;
And the blood of her veins, in the moonlight, throbbed to her love’s refrain.
Tlot-tlot; tlot-tlot! Had they heard it? The horsehoofs ringing clear;
Tlot-tlot; tlot-tlot, in the distance? Were they deaf that they did not hear?
Down the ribbon of moonlight, over the brow of the hill,
The highwayman came riding—
Riding—riding—
The red coats looked to their priming! She stood up, straight and still.
Tlot-tlot, in the frosty silence! Tlot-tlot, in the echoing night!
Nearer he came and nearer. Her face was like a light.
Her eyes grew wide for a moment; she drew one last deep breath,
Then her finger moved in the moonlight,
Her musket shattered the moonlight,
Shattered her breast in the moonlight and warned him—with her death.
He turned. He spurred to the west; he did not know who stood
Bowed, with her head o’er the musket, drenched with her own blood!
Not till the dawn he heard it, and his face grew grey to hear
How Bess, the landlord’s daughter,
The landlord’s black-eyed daughter,
Had watched for her love in the moonlight, and died in the darkness there.
Back, he spurred like a madman, shrieking a curse to the sky,
With the white road smoking behind him and his rapier brandished high.
Blood red were his spurs in the golden noon; wine-red was his velvet coat;
When they shot him down on the highway,
Down like a dog on the highway,
And he lay in his blood on the highway, with a bunch of lace at his throat.
. . .
And still of a winter’s night, they say, when the wind is in the trees,
When the moon is a ghostly galleon tossed upon cloudy seas,
When the road is a ribbon of moonlight over the purple moor,
A highwayman comes riding—
Riding—riding—
A highwayman comes riding, up to the old inn-door.
Over the cobbles he clatters and clangs in the dark inn-yard.
He taps with his whip on the shutters, but all is locked and barred.
He whistles a tune to the window, and who should be waiting there
But the landlord’s black-eyed daughter,
Bess, the landlord’s daughter,
Plaiting a dark red love-knot into her long black hair.
Remember
Christina Rossetti (1830-1894)
Christina Georgina Rossetti was an English writer of romantic, devotional and children’s poems, including “Goblin Market” and “Remember”. She also wrote the words of two Christmas carols.
Remember me when I am gone away,
Gone far away into the silent land;
When you can no more hold me by the hand,
Nor I half turn to go yet turning stay.
Remember me when no more day by day
You tell me of our future that you plann’d:
Only remember me; you understand
It will be late to counsel then or pray.
Yet if you should forget me for a while
And afterwards remember, do not grieve:
For if the darkness and corruption leave
A vestige of the thoughts that once I had,
Better by far you should forget and smile
Than that you should remember and be sad.
Leisure
W H Davies (1871-1940)
William Henry Davies was a Welsh poet and writer, who spent much of his life as a tramp or hobo in the United Kingdom and the United States, yet became one of the most popular poets of his time.
What is this life if, full of care,
We have no time to stand and stare?—
No time to stand beneath the boughs,
And stare as long as sheep and cows:
No time to see, when woods we pass,
Where squirrels hide their nuts in grass:
No time to see, in broad daylight,
Streams full of stars, like skies at night:
No time to turn at Beauty’s glance,
And watch her feet, how they can dance:
No time to wait till her mouth can
Enrich that smile her eyes began?
A poor life this if, full of care,
We have no time to stand and stare.
Stopping by Woods on a Snowy Evening
Robert Frost (1874-1963)
Frost had been up the entire night writing another poem. He had finally finished when he realized morning had come. He went out to view the sunrise and suddenly got the idea for “Stopping by Woods on a Snowy Evening”. He wrote the poem in just a few minutes.
Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.
My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
He gives his harness bells a shake
To ask if there is some mistake.
The only other sound’s the sweep
Of easy wind and downy flake.
The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
Do not go Gentle into that Good Night
Dylan Thomas (1914-1953)
Born in Wales, Dylan Thomas is famous for his acutely lyrical and emotional poetry, as well as his turbulent personal life. He first travelled to the United States in the 1950s. His readings there brought him a degree of fame, while his erratic behaviour and drinking worsened. He died in New York of ailments complicated by alcohol and drug abuse.
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.
Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.
Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.
Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.
And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.
Bloody Men
Wendy Cope (1945-)
Wendy Cope is an award-winning British poet who has a knack of saying serious things in a light-hearted way. Her output has been relatively small. “Bloody Men” dates from 1987 and was the opening poem of her second collection. It can be considered typical of her style and approach.
Bloody men are like bloody buses.
You wait for about a year
And as soon as one approaches your stop
Two or three others appear.
You look at them flashing their indicators,
Offering you a ride.
You’re trying to read the destination,
You haven’t much time to decide.
If you make a mistake, there is no turning back.
Jump off, and you’ll stand there and gaze
While the cars and the taxis and lorries go by
And the minutes, the hours, the days.
The Ballad of Reading Gaol
Oscar Wilde (1854-1900)
Oscar Wilde’s literary reputation rests largely on his novel The Picture of Dorian Gray (1891) and on his masterful comedies of manners Lady Windermere’s Fan (1892) and The Importance of Being Earnest (1895). He was also known for his wit, his flamboyance, and his trials and jail sentence for homosexual acts.
He did not wear his scarlet coat,
For blood and wine are red,
And blood and wine were on his hands
When they found him with the dead,
The poor dead woman whom he loved,
And murdered in her bed.
He walked amongst the Trial Men
In a suit of shabby grey;
A cricket cap was on his head,
And his step seemed light and gay;
But I never saw a man who looked
So wistfully at the day.
I never saw a man who looked
With such a wistful eye
Upon that little tent of blue
Which prisoners call the sky,
And at every drifting cloud that went
With sails of silver by.
I walked, with other souls in pain,
Within another ring,
And was wondering if the man had done
A great or little thing,
When a voice behind me whispered low,
‘That fellow’s got to swing.’
Dear Christ! the very prison walls
Suddenly seemed to reel,
And the sky above my head became
Like a casque of scorching steel;
And, though I was a soul in pain,
My pain I could not feel.
I only knew what hunted thought
Quickened his step, and why
He looked upon the garish day
With such a wistful eye;
The man had killed the thing he loved,
And so he had to die.
The Charge of the Light Brigade
Alfred Lord Tennyson (1809-1892)
Born on August 6, 1809, in Somersby, Lincolnshire, England, Alfred Lord Tennyson is one of the most well-loved Victorian poets. Tennyson, the fourth of twelve children, showed an early talent for writing. At the age of twelve he wrote a 6,000-line epic poem. In 1884, he accepted a peerage, becoming Alfred Lord Tennyson. Tennyson died on October 6, 1892, and was buried in Westminster Abbey.
I
Half a league, half a league,
Half a league onward,
All in the valley of Death
Rode the six hundred.
“Forward, the Light Brigade!
Charge for the guns!” he said.
Into the valley of Death
Rode the six hundred.
II
“Forward, the Light Brigade!”
Was there a man dismayed?
Not though the soldier knew
Someone had blundered.
Theirs not to make reply,
Theirs not to reason why,
Theirs but to do and die.
Into the valley of Death
Rode the six hundred.
III
Cannon to right of them,
Cannon to left of them,
Cannon in front of them
Volleyed and thundered;
Stormed at with shot and shell,
Boldly they rode and well,
Into the jaws of Death,
Into the mouth of hell
Rode the six hundred.
IV
Flashed all their sabres bare,
Flashed as they turned in air
Sabring the gunners there,
Charging an army, while
All the world wondered.
Plunged in the battery-smoke
Right through the line they broke;
Cossack and Russian
Reeled from the sabre stroke
Shattered and sundered.
Then they rode back, but not
Not the six hundred.
V
Cannon to right of them,
Cannon to left of them,
Cannon behind them
Volleyed and thundered;
Stormed at with shot and shell,
While horse and hero fell.
They that had fought so well
Came through the jaws of Death,
Back from the mouth of hell,
All that was left of them,
Left of six hundred.
VI
When can their glory fade?
O the wild charge they made!
All the world wondered.
Honour the charge they made!
Honour the Light Brigade,
Noble six hundred!
Stop all the Clocks
W H Auden (1907-1973)
Wystan Hugh Auden grew up in Birmingham, England and was known for his extraordinary intellect and wit. Just before World War II broke out, Auden emigrated to the United States. He won the Pulitzer Prize in 1948 for The Age of Anxiety. Much of his poetry is concerned with moral issues and evidences a strong political, social, and psychological context. This poem conveys the meaning of overwhelming grief, tragic loss, and an unrelenting pessimism.
Stop all the clocks, cut off the telephone,
Prevent the dog from barking with a juicy bone,
Silence the pianos and with muffled drum
Bring out the coffin, let the mourners come.
Let aeroplanes circle moaning overhead
Scribbling on the sky the message He Is Dead,
Put crepe bows round the white necks of the public doves,
Let the traffic policemen wear black cotton gloves.
He was my North, my South, my East and West,
My working week and my Sunday rest,
My noon, my midnight, my talk, my song;
I thought that love would last for ever: I was wrong.
The stars are not wanted now: put out every one;
Pack up the moon and dismantle the sun;
Pour away the ocean and sweep up the wood;
For nothing now can ever come to any good.