I measure every Grief I meet
With narrow, probing, eyes – 
I wonder if It weighs like Mine – 
Or has an Easier size.

I wonder if They bore it long – 
Or did it just begin – 
I could not tell the Date of Mine – 
It feels so old a pain – 

I wonder if it hurts to live – 
And if They have to try – 
And whether – could They choose between – 
It would not be – to die – 

I note that Some – gone patient long – 
At length, renew their smile –  
An imitation of a Light
That has so little Oil – 

I wonder if when Years have piled –  
Some Thousands – on the Harm –  
That hurt them early – such a lapse
Could give them any Balm –  

Or would they go on aching still
Through Centuries of Nerve – 
Enlightened to a larger Pain –  
In Contrast with the Love –  

The Grieved – are many – I am told –  
There is the various Cause –  
Death – is but one – and comes but once –  
And only nails the eyes –  

There's Grief of Want – and grief of Cold –  
A sort they call "Despair" –  
There's Banishment from native Eyes – 
In sight of Native Air –  

And though I may not guess the kind –  
Correctly – yet to me
A piercing Comfort it affords
In passing Calvary –  

To note the fashions – of the Cross –  
And how they're mostly worn –  
Still fascinated to presume
That Some – are like my own – 

Poetry used by permission of the publishers and the Trustees of Amherst College from The Poems of Emily Dickinson, Ralph W. Franklin ed., Cambridge, Mass.: The Belknap Press of Harvard University Press, Copyright © 1998 by the President and Fellows of Harvard College. Copyright © 1951, 1955, 1979, by the President and Fellows of Harvard College.

I have a rendezvous with Life,
In days I hope will come,
Ere youth has sped, and strength of mind,
Ere voices sweet grow dumb.
I have a rendezvous with Life,
When Spring's first heralds hum.
Sure some would cry it's better far
To crown their days with sleep
Than face the road, the wind and rain,
To heed the calling deep.
Though wet nor blow nor space I fear,
Yet fear I deeply, too,
Lest Death should meet and claim me ere
I keep Life's rendezvous.

This poem is in the public domain.

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.

From The Poems of Dylan Thomas, published by New Directions. Copyright © 1952, 1953 Dylan Thomas. Copyright © 1937, 1945, 1955, 1962, 1966, 1967 the Trustees for the Copyrights of Dylan Thomas. Copyright © 1938, 1939, 1943, 1946, 1971 New Directions Publishing Corp. Used with permission.

Nature’s first green is gold,
Her hardest hue to hold.
Her early leaf’s a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.

From The Poetry of Robert Frost edited by Edward Connery Lathem. Copyright © 1923, 1947, 1969 by Henry Holt and Company, copyright © 1942, 1951 by Robert Frost, copyright © 1970, 1975 by Lesley Frost Ballantine. Reprinted by permission of Henry Holt and Company, LLC.

is even more fun than going to San Sebastian, Irún, Hendaye, Biarritz, Bayonne
or being sick to my stomach on the Travesera de Gracia in Barcelona
partly because in your orange shirt you look like a better happier St. Sebastian
partly because of my love for you, partly because of your love for yoghurt
partly because of the fluorescent orange tulips around the birches
partly because of the secrecy our smiles take on before people and statuary
it is hard to believe when I’m with you that there can be anything as still
as solemn as unpleasantly definitive as statuary when right in front of it
in the warm New York 4 o’clock light we are drifting back and forth
between each other like a tree breathing through its spectacles

and the portrait show seems to have no faces in it at all, just paint
you suddenly wonder why in the world anyone ever did them
                                                                                                              I look
at you and I would rather look at you than all the portraits in the world
except possibly for the Polish Rider occasionally and anyway it’s in the Frick
which thank heavens you haven’t gone to yet so we can go together for the first time
and the fact that you move so beautifully more or less takes care of Futurism
just as at home I never think of the Nude Descending a Staircase or
at a rehearsal a single drawing of Leonardo or Michelangelo that used to wow me
and what good does all the research of the Impressionists do them
when they never got the right person to stand near the tree when the sun sank
or for that matter Marino Marini when he didn’t pick the rider as carefully
as the horse
                               it seems they were all cheated of some marvelous experience
which is not going to go wasted on me which is why I’m telling you about it

From The Collected Poems of Frank O’Hara by Frank O’Hara, copyright © 1971 by Maureen Granville-Smith, Administratrix of the Estate of Frank O’Hara, copyright renewed 1999 by Maureen O’Hara Granville-Smith and Donald Allen. Used by permission of Alfred A. Knopf, an imprint of the Knopf Doubleday Publishing Group, a division of Penguin Random House LLC. All rights reserved.

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

Copyright © 1962 by William Carlos Williams. Used with permission of New Directions Publishing Corporation. All rights reserved. No part of this poem may be reproduced in any form without the written consent of the publisher.

I measure every Grief I meet
With narrow, probing, eyes – 
I wonder if It weighs like Mine – 
Or has an Easier size.

I wonder if They bore it long – 
Or did it just begin – 
I could not tell the Date of Mine – 
It feels so old a pain – 

I wonder if it hurts to live – 
And if They have to try – 
And whether – could They choose between – 
It would not be – to die – 

I note that Some – gone patient long – 
At length, renew their smile –  
An imitation of a Light
That has so little Oil – 

I wonder if when Years have piled –  
Some Thousands – on the Harm –  
That hurt them early – such a lapse
Could give them any Balm –  

Or would they go on aching still
Through Centuries of Nerve – 
Enlightened to a larger Pain –  
In Contrast with the Love –  

The Grieved – are many – I am told –  
There is the various Cause –  
Death – is but one – and comes but once –  
And only nails the eyes –  

There's Grief of Want – and grief of Cold –  
A sort they call "Despair" –  
There's Banishment from native Eyes – 
In sight of Native Air –  

And though I may not guess the kind –  
Correctly – yet to me
A piercing Comfort it affords
In passing Calvary –  

To note the fashions – of the Cross –  
And how they're mostly worn –  
Still fascinated to presume
That Some – are like my own – 

Poetry used by permission of the publishers and the Trustees of Amherst College from The Poems of Emily Dickinson, Ralph W. Franklin ed., Cambridge, Mass.: The Belknap Press of Harvard University Press, Copyright © 1998 by the President and Fellows of Harvard College. Copyright © 1951, 1955, 1979, by the President and Fellows of Harvard College.

God and the devil still are wrangling
    Which should have her, which repel;
God wants no discord in his heaven;
    Satan has enough in hell.

This poem is in the public domain.

Nature’s first green is gold,
Her hardest hue to hold.
Her early leaf’s a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.

From The Poetry of Robert Frost edited by Edward Connery Lathem. Copyright © 1923, 1947, 1969 by Henry Holt and Company, copyright © 1942, 1951 by Robert Frost, copyright © 1970, 1975 by Lesley Frost Ballantine. Reprinted by permission of Henry Holt and Company, LLC.