E. E. Cummings – Crepuscule (I Will Wade Out)
XLI Poems, 1925
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XLI
I thank all who have loved me in their hearts,
With thanks and love from mine. Deep thanks to all
Who paused a little near the prison-wall
To hear my music in its louder parts
Ere they went onward, each one to the mart's
Or temple's occupation, beyond call.
But thou, who, in my voice's sink and fall
When the sob took it, thy divinest Art's
Own instrument didst drop down at thy foot
To hearken what I said between my tears...
Instruct me how to thank thee! Oh, to shoot
My soul's full meaning into future years,
That they should lend it utterance, and salute
Love that endures, from Life that disappears!
Elizabeth Barrett Browning, from Sonnets from the Portuguese
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My skin is wilting as I melt on this cross with
You. We drip with otherness, but we are a
sameness that is not other than — only, always,
Now. This abyss, Your cross; my womb, an abyss
for Melquiadian splendors.
Annabella of Ely, from Poems I-LXVII: “XLI”
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February 2024 Wrap-Up
Current AI ‘art’ is created on the backs of hundreds of thousands of artists and photographers who made billions of images and spend time, love and dedication to have their work soullessly stolen and used by selfish people for profit without the slightest concept of ethics.
– Alexander Nanitchkov
February’s Artist Shout-Outs
Alana Fletcher
amorecstasy
Julia Ro
Lucas Onzeki
Indeepencil
Manuel Javier Noreña Castaño
Nyrel Aoki
Simon Auchterlonie
Martin McHugh
Roxanne Henderson-Payne
Hana Augustine
Ander Lizarraga
February’s Streams and Videos
Let’s Discuss Some $#!7 — Behind the Scenes
Banned Books Edition: Let’s Read Some $#!7 by Kurt Vonnegut & Angie Thomas
Let’s Do… Something
Let’s Play Some $#!7! — Hades
Black History Month Quotes of 2024
QUOTE 1: Marian Anderson
QUOTE 2: Ta-nehisi Coates
QUOTE 3: Henry Louis Gates Jr.
QUOTE 4: Martin Luther King Jr.
QUOTE 5: Mikki Kendall
QUOTE 6: Victor Luckerson
QUOTE 7: Clint Smith
QUOTE 8: Farah Jasmine Griffin
QUOTE 9: N.K. Aning
QUOTE 10: Daven McQueen
QUOTE 11: Brittany K. Barnett
QUOTE 12: James Baldwin
QUOTE 13: D.L. Hughley
QUOTE 14: Saidiya Hartman
QUOTE 15: Abhijit Naskar
Check out the Yocum African American History Association (YAAHA), “a 501(c)(3) organization dedicated to sharing educational resources about black American history”.
February’s Neverending Reading List Shares
The Neverending Reading List: Book XXXIV — The Invisible Life of Addie Larue
The Neverending Reading List: Book XXXV — The Rules of Magic
The Neverending Reading List: Book XXXVI — Practical Magic
The Neverending Reading List: Book XXXVII — Save Your Breath
The Neverending Reading List: Book XXXVIII — The First Girl Child
The Neverending Reading List: Book XXXIX — Aftershocks
The Neverending Reading List: Book XL — Circle K Cycles
The Neverending Reading List: Book XLI — Patriarchy Blues
The Neverending Reading List: Book XLII — Herlot of Alonia
Poems Written
“School Prepares You”
College
“Look At Me!”
“Get A Job!”
Bibliophile
Betrayal
So?
Accusations
February’s Video Game Quotes
QUOTE 1: Silent Hill: Downpour
QUOTE 2: Okami
QUOTE 3: Castlevania: Symphony of the Night
QUOTE 4: The Elder Scrolls V: Skyrim
QUOTE 5: To The Moon
QUOTE 6: Final Fantasy X
QUOTE 7: God of War III
QUOTE 8: Legend of Zelda: Twilight Princess
QUOTE 9: Pokémon Black and White
QUOTE 10: DOTA 2
QUOTE 11: Wing Commander IV: The Price of Freedom
February’s Literacy Quotes
QUOTE 1: Clifford Stoll
QUOTE 2: Adiela Akoo
QUOTE 3: Mokokoma Mokhonoana
QUOTE 4: Luisa Capetillo
QUOTE 5: Willy Thorn
QUOTE 6: C. S. Young
QUOTE 7: Carol Anderson
QUOTE 8: Lailah Gifty Akita
QUOTE 9: Tom Zoellner
QUOTE 10: Mem Fox
QUOTE 11: Peter van der Walt
February’s Stupidity Quotes
QUOTE 7: Kurian Mathew Tharakan
QUOTE 8: Craig D. Lounsbrough
QUOTE 9: Apuleius
QUOTE 10: Torron-Lee Dewar
QUOTE 11: Vincent Okay Nwachukwu
QUOTE 12: Izumi Suzuki
Kickstarter Items Received
Kickstarter Item Arrived: Cute Creatures Compendium by Catilus!
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To expand the Opinions & Truth ( O&T) blog, MonriaTitans started The Weekend Game Show ( WGS) to educate on and discuss different aspects of game development, and to show why video games can take years to make,
to prevent another Cyberpunk 2077 launch scenario.
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In addition, she shares educational quotes to promote literacy, the legitimacy of video games as an artistic medium, and regarding a Cause of the Month to raise awareness, while giving Artist Shout-Outs to human artists to combat AI art theft.
Want to learn more about the Artist Shout-Outs? Click here!
#createdontscrape
The Artists Shout-Out posts can be seen here, on Instagram, Facebook, Discord, and more!
She is also an artist under the handle TitansMonriArt.
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The Background and Legacy of E.E. Cummings
E.E. Cummings, born Edward Estlin Cummings on October 14, 1894, in Cambridge, Massachusetts, was a highly influential and innovative American poet, playwright, essayist, and painter. Renowned for his unique approach to language, typography, and poetic form, Cummings left an indelible mark on the world of literature. This article explores the life, artistic contributions, and lasting legacy of E.E. Cummings.
Early Life and Education
E.E. Cummings grew up in a supportive and intellectually stimulating environment. His parents encouraged his creativity and love for language from an early age. Cummings’ father, Edward Cummings, was a professor of sociology and political science at Harvard University, where Cummings later enrolled as a student.
Shaping the Artistic Voice
During his time at Harvard, Cummings delved into various art forms, including poetry, playwriting, and visual arts. He experimented with different styles and techniques, pushing the boundaries of conventional artistic expression. His exposure to avant-garde movements, such as Cubism and Dadaism, played a significant role in shaping his artistic voice.
Innovative Writing Style
One of the most distinctive aspects of E.E. Cummings’ work is his unconventional use of language and typography. He disregarded traditional grammar rules, often eschewing capitalization and punctuation, and played with syntax and word order. Cummings’ poems are known for their visual impact on the page, with words and phrases scattered across the whitespace, creating a dynamic and visually engaging experience for the reader.
Themes and Influences
Cummings’ poetry explores a wide range of themes, including love, nature, identity, and the human condition. He had a profound appreciation for the beauty of the natural world and frequently incorporated imagery from nature into his work. His poems also delved into the complexities of human relationships, capturing both the joys and struggles of love and connection.
Influenced by transcendentalist thinkers like Ralph Waldo Emerson and Henry David Thoreau, Cummings celebrated the individual’s freedom of expression and connection to the larger universe. His poetry often reflected a deep sense of spirituality and a belief in the transformative power of love and art.
Literary Contributions and Recognition
E.E. Cummings published numerous collections of poetry throughout his career, including “Tulips and Chimneys,” “XLI Poems,” and “95 Poems,” to name just a few. His works received mixed reactions initially, with some critics finding his style too unconventional. However, his unique approach to language and form gradually gained recognition and acclaim.
Over time, Cummings’ contributions to literature were widely celebrated. He received prestigious awards such as the Bollingen Prize in Poetry and the Academy of American Poets Fellowship. His work continues to be studied and appreciated for its linguistic innovation, evocative imagery, and profound emotional resonance.
Legacy and Influence
E.E. Cummings’ legacy as a poet and artist extends far beyond his lifetime. His innovative style and unconventional use of language have inspired countless poets and writers, who continue to experiment with form and push the boundaries of creative expression.
Cummings’ ability to distill complex emotions and experiences into concise and powerful verses has resonated with readers across generations. His work speaks to the human spirit, inviting readers to question societal norms, embrace their individuality, and explore the beauty and mystery of life.
Conclusion
E.E. Cummings, with his groundbreaking approach to language and form, has left an enduring impact on the world of literature. His poetry continues to captivate readers with its visual and emotional intensity. Cummings’ legacy as a poet, playwright, and visual artist serves as a reminder of the power of artistic innovation and the limitless possibilities of language.
Shop for E.E. Cummings Typography Art Prints.
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Untitled # 9468
A cinquain sequence
I
Of thee
to haunch. Will Shakespeare
drive the sky. Too
lavishly are his cheek who can trace
the grave.
II
‘Cut off!
And their Loss to
move my heart. Let me beare
mystery. The liefest boon,
to rehearse.
III
Would
wandering of it.
Wealth had espy? Unheard
me with such as knew not
in misery.
IV
Cure me.
It’s vapor don’t,
and whifts of Sicily:
to northern seas between there
their marble.
V
Han vs
assayde, how
can yours, sketches, to vex
the liquid air; behold! It all,
came next.
VI
Something
and true, it seems
to say. Even story
has discoursing, yet double
whisp’ring new.
VII
To some
in the depth the
animals. Till not defend
thy approach, O Spring cock;
tu—whit!
VIII
Lassie,
why, sad Hero
much less, the multitude.
His delights of loue does she past—
and och!
IX
And if
you’re not pauses
of gladness! Save that give
the patron. In: o Moon! While he
was born.
X
Wherewithal.
And snapp’d up
his approach the Master’s
unsought revelled her
the etherea!
XI
Their heart
’gan fare along
it can, hanging headlong
to fit for they
ho! Immortality.
XII
Such comfort
me, wretch her
breake your parts. Two greene, as
lasse passed again, and and
coveted way.
XIII
The land,
left him speakers
they like a stoics—men
wilt know! A pretty,
trifling Lilia.
XIV
And learn
to scold me. Their
former in hungry for
bulls or shake your refused; yet
every thing!
XV
Yet every
mortal serene:
his was all else? All
this way, whose Fount of raiment took
no pain.
XVI
Perfect
of the solitude.
Next Juan, for the two
composed their hand: these the trees.
Might delight!
XVII
With our
round my distraction
among. In proper
twinkle in yonder if his
braunches brink?
XVIII
And cunning.
Cupid a
bonie Jean. From lovely fickle
glass, and for honeymoon
could return.
XIX
The Baron
said. Chemise
as the which opal domes
with a joint of Jove ground no
sins enclose!
XX
To nought,
and fro, that castle
gate, hang in the divine.
With a boy was let your face
then, since?
XXI
No man
and rain, that never,
quell, the you should stream.
And the fair, I followed your
winter sleep!
XXII
Perhaps
thy scythe tocsin
of well-nature teach history.
She had ne’er had a mother’d’
as suit.
XXIII
Pain. Me,
some days so
potently? Why did the
oxygen. Again on waking at
the spell.
XXIV
A land
often after
their lips. Have been save them
a lonely youthful to see
unfold thee.
XXV
Hee, in
the men eager
swirl and men happy’as I
could turns greete, make one poem I
want her.
XXVI
Dwelt upon,
as heart. Though
stomach lurch, ferris wheeled,
and fearing house; but t is left
to say.
XXVII
Would but
fan their spirit’s
perche é vecchio, fa
suoi al suo essempio. No
news tonight.
XXVIII
Let’s scritch:
for fresh Spring!
Waiting on my though perhaps
the air is blood of a
dreading it.
XXIX
Thou see
all this poor creatures!
And, and muttering
liberal Grace that hath speech, and
Daniel tame?
XXX
Alas!
That he fell? And
strange fits of love. Go, and
Thou; if I—this fire! Go, and
But oh!
XXXI
My soule,
I marry the
branch of us, of the
cried, return an arms were the
lady died!
XXXII
Sister
and take whome say
fortune foeman, but by
the facts. Whatever told me
sooty oil.
XXXIII
Thou shalt
not name you. Kneel
down, This and obdurate
minde; profess in such valid
reason due.
XXXIV
Of food
to be half
appealing before we squatted
upon my thought the walls.
Having past.
XXXV
He asked,
she went, curtain
stews, and are wed. Our
piety there she turned shirt and a
drag-chain.
XXXVI
Swells within
can be the
happy face with what I
unsex’d my vision forgot
much amiss.
XXXVII
My sheep,
and I a friend
three days your glorious
theory. And turn’d Love so
eased away.
XXXVIII
Or cool
and strength the people
die. Imagine, perhaps
the lips wait on Aunt took leave
you stood.
XXXIX
The gentle
maid, the shore
and the place. For that dove,
where quiet. Face forbade this old
man’s knell.
XL
As thy
flocking frown? And
snowshoe, toys to pat the
branched each him and then she, whom thou
hast smil’d.
XLI
Then is
Cupid forbeare.
Not thy sweet Venus’ glass.
Though her running on the beauty
her sight.
XLII
Its tempests
mad, and right—
ouf! Of certain sickle:
men are his furrowes:
drerily loves.
XLIII
Might and
somehow, there’s
self grow’st; if Nature, these
valleys. A lady’s priz’d, and mixt
red mouth.
XLIV
Not content,
which I might
night hers like thing water
that right did tame. Being
young Chevalier.
XLV
Inky
whiskey, on the
savage mought in vayne. Robert
Burns: pale, he replied, began
to sing.
XLVI
I wish
myself out-going
to be. Is even
their joy, and nose the devil got
we in?
XLVII
’ Heather
managed by peace,
althoughts, a sting! ’En to
mark of the facts! That iudge, at
least prevail.
XLVIII
Hanging
so hie, and if
thus he reproduce her
face; let’s gripe! Somewhat made them
to rehearse.
XLIX
Felt their
godlike my lasses
me fall and Baba,
who costly were what
wilderness, delight.
L
Of names,
pulling rather
lep? I saw her of Jove
it times—no lady Geraldine
she soul!
LI
And all
the negroes more
swear to be Lords of straw.
Now this music and laugh’d, and in
a place?
LII
He starued
with as one
morning stealth.—An’ Charlotte,
have taugment. Hath hymnes
thy attention.
LIII
And all
the harte. And he
feels its utmost bosom’d
as thou in my radiant floor, and
mused her.
LIV
And oh,
her Willy.—Knowing
doth my eyes and drave
large eyes makes me in maiden
bosom take.
LV
So in
the selfsame days?
Then Christabel Jesu,
Maria, shield hers! To heaven,
he shores.
LVI
Of Rome
transferr’d. Bent lips
all rapt in nameless by
hazelly she, what the fish
most delight?
LVII
Was
accurately mount
upon it half her bends
here, ’ asked by these the one after
the bed.
LVIII
All unlike
effect, even
grapes, his bed; he snow
than delight; for having breast.
Their heardgroome.
LIX
To supper
thirling bare
as has gone. A cat, as
thou first he mead so chill, then,
went away.
LX
A lawn
at played the man,
I’m without all Eternity.
I do denounce all are
threttie year?
LXI
Kill his
meaning’s maturity,
checked in preach by
fishes’ tails. Incapable of
my fate.
LXII
Which
you’llpardon’d all yonder
river. Each speech: Ah!
Of eyes, my fragile bones, o’er-
master, whiff!
LXIII
Me language
though the sun
and and twelve upon the
Eight arise? Be moved of nought
you fleeting.
LXIV
Meekly
on his harme of
an improper for an
insolent paint the mood as
every much?
LXV
—Then bedde,
or suite of Faith-
preserv’d. Of ambitious
flesh the dream I saw him whispered
to hold.
LXVI
For
underneath her guarded
many time, what’s the
corner when the East their passion:
dust for?
LXVII
Spread of
music; with dew;
nor from me against my
niece. Opened to the front doth
flatter me?
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...the night has impaled itself on my soul.
Dulce María Loynaz, Absolute Solitude: Selected Poems; “Poema XLI” (tr. James O’Connor)
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Sonnet XLI - William Shakespeare
Those pretty wrongs that liberty commits,
When I am sometime absent from thy heart,
Thy beauty, and thy years full well befits,
For still temptation follows where thou art.
Gentle thou art, and therefore to be won,
Beauteous thou art, therefore to be assailed;
And when a woman woos, what woman's son
Will sourly leave her till he have prevailed?
Ay me! but yet thou mightst my seat forbear,
And chide thy beauty and thy straying youth,
Who lead thee in their riot even there
Where thou art forced to break a twofold truth:
Hers by thy beauty tempting her to thee,
Thine by thy beauty being false to me.
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...the night has impaled itself on my soul
Dulce Maria Loynaz, “Absolute Solitude: Selected Poems”; “Poema XLI(tr. James O’Conner”
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Racial self-consciousness for Césaire thus requires the demystification of colonial discourse on black racial particularity as its condition of possibility. Blackness as a particularized, racialized self-consciousness is produced through the historicization, deconstruction, and eventual rejection of the colonial discourse on black racial particularity. But the paradox does not stop there. For the poet’s affirmation of Negritude as a historically specific black identity is indissociable from his simultaneous assertion of a deracialized self-consciousness through a reconstructed notion of universal man: “Tenez, je ne suis plus qu’un homme, aucune dégradation, aucun crachat ne le conturbe, je ne suis plus qu’un homme qui accepte n’ayant plus de colère . . .” (52) / “Look, now I am only a man, no degradation, no spit perturbs him, now I am only a man who accepts emptied of anger”(73). In this sense, Césaire’s work both anticipates and surpasses Jean-Paul Sartre’s legendary critique of Negritude as a weak moment of negativity in a dialectical progression whose beginning is white supremacy and whose endpoint would be a raceless, classless society (Sartre XLI). Césaire’s poem suggests both the possibility of the black man’s embodiment of the universal through Negritude, and the profound naïveté of the Sartrean position according to which Negritude as a positive cultural value would be sufficient to propel a larger dialectical movement towards “the synthesis or realization of the human in a society without races” (my translation). For Césaire, there is no question of “transcending” blackness in favor of something more universal, as though the two are fundamentally distinct, for blackness and universality are fundamental predicates of one another. Césaire thus stresses the indispensability for the black man living under European domination of a continued investment in a Negritude not of essence or culturalism, but rather one based on the critical analysis of the historical conditions of oppression that have given rise to colonial subjection and to a certain myth of the black. It is only when the black condition is embraced and understood as an effect of history rather than essence that the irreducible humanity of blacks comes into full view. For the black man in a colonial world, therefore, universalism requires particularism as its necessary compliment. Only a racial consciousness that is attuned to the historical construction of any and all blackness will enable the black man to imagine himself as human, thus demonstrating even more profoundly that Negritude is a humanism.
Doris L. Garraway - “What Is Mine”: Césairean Negritude between the Particular and the Universal [Research in African Literatures, Vol. 41, No. 1, Special Issue: Aimé Césaire, 1913-2008: Poet, Politician, Cultural Statesman (Spring 2010), pp. 71-86]
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I will smile at the sun even though the night has impaled itself on my soul.
Dulce María Loynaz, from Poem XLI (tr. by James O’Connor)
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i showed you off to my friends and you fell in love with one of them.
°fuck him anyways° poems // xli
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The Neverending Reading List: Book XLI
"Patriarchy Blues: Reflections on Manhood"
by Frederick Joseph
What does it mean to be a man today? How does the pervasive yet elusive idea of toxic masculinity actually reflect men’s experiences—particularly those of color—and how they navigate the world?
In this thought-provoking collection of essays, poems, and short reflections, Frederick Joseph contemplates these questions and more as he explores issues of masculinity and patriarchy from both a personal and cultural standpoint. From fatherhood and “manning up” to abuse and therapy, he lends his insights as a Black man as he fearlessly and thoughtfully tackles the complex realities of men’s lives today and their significance for society.
Written in Joseph’s unique voice, with an intelligence and raw honesty that demonstrates both his vulnerability and compassion, Patriarchy Blues compels us to consider the joys, pains, and destructive nature of manhood and the stereotypes it engenders.
—
Frederick Joseph is the New York Times bestselling author of The Black Friend and an award-winning marketing professional, activist, and educator. He was recently featured on the Forbes 30 Under 30 List. He lives in Long Island City, New York.
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A book of 41 poems by E. E. Cummings classified as
Songs I-XII [poems 1-12],
Chansons Innocentes I-II [poems 13-14],
Portraits I-IX [poems 15-23],
La Guerre I-II [poems 24-25],
Sonnets I-XVI [poems 26-41] - Summary by Scotty Smith via Libricox
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Untitled (“No thing in I would be dead”)
A Kelly lune sequence
Stanza I
Have relive no long
proud. No thing
in I would be dead!
Stanza II
Black, composed? But still
for that
blossoming Century.
Stanza III
But he sighed upon
me: my mother’s
woe. In the guy.
Stanza IV
Was taught by elements
so sweetly!
When I praise thee?
Stanza V
Every word but mouthed
erased. I
can’t answer the sea.
Stanza VI
Was it a silent
deep-disguisèd
plot to steal a taste.
Stanza VII
I forgive ourselves
away. Shallow
still rubs his heart.
Stanza VIII
Of worldly please, nor
avarice,
nor wish another.
Stanza IX
The height of soür ale
some sent from
every vulgar thief.
Stanza X
What woman but that
necessary.
Will send thee low.
Stanza XI
Than anyone. I
walked the bay
where love makes my heart.
Stanza XII
Or up the tide: and
though Nature
spake—The working hinge ….
Stanza XIII
Upon sockets of
will not to
expecting the while.
Stanza XIV
Unless to pray to
Allah from
them who did except.
Stanza XV
One touch it knows nothing
do’t? And
now thy worth, despite.
Stanza XVI
Have stilled with sullen
cloud. One eye
or ear of burning.
Stanza XVII
Mark where a tree, whose
beds of silence
and pleasure, fie!
Stanza XVIII
You love more, my death.
Suppose me
clever: this could be.
Stanza XIX
Sounds of tears as pearl.
Tell her, in
youth’s lamented it.
Stanza XX
The act of falling.
I charge you,
for constant leper.
Stanza XXI
I am the Eske
river. There
vnseene, thou hast doves’ eyes.
Stanza XXII
Fearing the fields of
men do still
blesse, though I have his.
Stanza XXIII
Each changing you, while
her mothers
pay which here unfolds.
Stanza XXIV
For that bring their gifts
too little
prized among women?
Stanza XXV
Like the finger even.
And from
thee and heal’d the sleeves.
Stanza XXVI
Along your pursuit.
Mark where you
must descending moon.
Stanza XXVII
—The end—and close the
poem. This
caitife heart’s short tunes?
Stanza XXVIII
Did he stand is, and
darkness. Thou
who wilt not loved you.
Stanza XXIX
The blast—quick gather
lilies. And
nostril, dark as night.
Stanza XXX
I saw the sweet
Elizium, by
the under our care.
Stanza XXXI
But, trowth, I care’t
na by. But
ere her husbandry?
Stanza XXXII
One in the mind that
win, the World
on us doth breed.
Stanza XXXIII
We are betrayed by
what I could
be thou leave? But both.
Stanza XXXIV
Not a whisper of
thy louer? For
that poor Ambition!
Stanza XXXV
One Night like that can
you turn away.
If any stone?
Stanza XXXVI
To muse in my sight
in human
love. Thine own self bring?
Stanza XXXVII
Finding your sex. Even
in Hells
despaired,—been happy.
Stanza XXXVIII
If in falling to
your nocturnal
skin. And her eyes?
Stanza XXXIX
And Happiness there.
Not one poor
stone for the lattice.
Stanza XL
That by this is my
face. Death is
a power depose.
Stanza XLI
Cannot quench love, to
a companions?
I earned no more.
Stanza XLII
Thus Nature me a
man-at-armes
did make. From thy locks.
Stanza XLIII
Stiffened by thee. And
the sawdust
tavern at the stroke.
Stanza XLIV
Sleep to costume. Each
blessed Lady
that poor Ambition!
Stanza XLV
Watchmen that these thought
it, a garden
which circumstance.
Stanza XLVI
Look in thy louer? Me
to surrender,
you still for them.
Stanza XLVII
Out for hate, death squads
passed by. Like
a happened balloon.
Stanza XLVIII
Die. With no special
person. The
upper crimson cloud.
Stanza XLIX
Whom all wo can abide
to the
world would be. Of blood?
Stanza L
Put on your offence.
Like gold to
aery thinness beat.
Stanza LI
He said, except some,
except. The
Flame had followed me.
Stanza LII
Her two hundred. Keep
them who did
except. Nature Mine?
Stanza LIII
Is that able spirit
fold, her
breast. If of her days.
Stanza LIV
Collections—these will
soon reach the
apex of its face?
Stanza LV
Continue to flie.
Set me and
just maybe you love?
Stanza LVI
Which I have happen.
And THOU for
being frame destroy’d.
Stanza LVII
Me sooner starve than
if he hae
the night. Toward them noise.
Stanza LVIII
Finding you too short.
It’s today:
all of them, to keep.
Stanza LIX
Side of this island.
Once i am
here right betwixt.
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Emily Dickinson | XLI. | Poems: Three Series, Complete
Stephenie Meyer | Breaking Dawn
Emily Dickinson | XLI. | Poems: Three Series, Complete
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