
Azaleas
A woman watches her lover go and promises to scatter azaleas in his path rather than weep. Kim Sowol put Korean folk-song rhythm into modern verse, and the whole country memorized him.

A woman watches her lover go and promises to scatter azaleas in his path rather than weep. Kim Sowol put Korean folk-song rhythm into modern verse, and the whole country memorized him.

When despair for the world wakes him at night, Berry goes down to the water where the heron feeds. Decades of farming one Kentucky hillside stand behind these poems of grief and consolation.

Music before everything else, Verlaine demanded, and wrote French verse so hushed composers could not leave it alone. Rain on the town becomes weeping in the heart, with no reason given.

Heaney's late poems turn from politics toward light and air. He writes his parents' deaths and his own stroke, and in "Postscript" an Atlantic wind off the Flaggy Shore blows the heart open.

O'Hara wrote these on lunch breaks from the museum, turning an ordinary Manhattan hour into art. "The Day Lady Died" runs through his errands until Billie Holiday's face on a newspaper stops everything.

No more passionate voice ever sounded in twentieth-century Russian poetry, the poet Brodsky said of Tsvetaeva. She came back from exile to Stalin's Russia, where the secret police took her husband and daughter.

Under the Mirabeau Bridge the Seine runs on and the love does not. Apollinaire brought the machine age and the trenches into French verse, and coined the word that named surrealism.

Hugo was the largest voice in French poetry, and the range astonishes: political fury from exile against Napoleon III, and “Demain, dès l'aube,” a walk that ends at his drowned daughter's grave.

Forty years of poems that begin with an ordinary question and end somewhere you never agreed to go. In "Cat in an Empty Apartment," a cat waits for the owner who has died.

Hughes wrote the blues into American poetry, plain-spoken and syncopated. He asked what happens to a dream deferred, and the playwright Lorraine Hansberry built A Raisin in the Sun from his answer.

Courtly love as siege warfare: a dreamer enters a garden, and Jean de Meun's vast continuation spends twenty thousand lines besieging one rosebud. Christine de Pizan's attack on it started a centuries-long argument.

Qays, an Arab poet, loves Layli so openly that his tribe calls him Majnun, the possessed, and her father marries her elsewhere. Poets from Anatolia to Mughal India rewrote Nezami's version for centuries.

Neruda was nineteen when these poems appeared, mapping a woman's body onto hills, water, and dusk with a directness that startled readers. Millions of copies later, they are the best-selling poetry in Spanish.

A recluse calling himself Cold Mountain scratched more than three hundred poems onto rocks in Tang China, plain about hunger, cold, and the folly of ambition. Kerouac dedicated The Dharma Bums to him.

Siegfried, invulnerable but for one spot the dragon's blood missed, is speared there by Hagen. Kriemhild's revenge for her husband runs through the rest of Germany's national epic and empties two courts.

Charlemagne's rearguard is ambushed in a Pyrenean pass, and Roland will not blow his horn for help until his temples burst. Four centuries later Italian poets were still writing epics about him.

Western love poetry starts with Sappho, and starts at full pitch: the tongue breaks, thin fire runs under the skin. The poet Anne Carson brackets every gap where the papyrus tore.

Pushkin's clerk in "The Bronze Horseman" loses everything to a flood, curses the tsar's statue, and is chased by it through Petersburg. Every Russian writer since has worked inside the language he made.

Stopped outside a wedding, a guest must hear an old sailor out: he shot an albatross for no reason, and the ship fell becalmed with water everywhere and none to drink.

Tagore wrote the songs that became the national anthems of India and Bangladesh. His Bengali lyrics address God as a lover who is late, plainly and without a trace of religious machinery.

Lorca's poems rise from Andalusian folk song and dream logic, where the moon walks into a forge and knives are always waiting. His lament for a gored bullfighter tolls five in the afternoon.

Dense, classical, and packed with Petersburg stone and Black Sea light, from a poet the state killed for sixteen lines about Stalin. His widow saved them by memorizing every one.

Water is best, the first ode opens, then praises a Sicilian king whose horse won at Olympia. Pindar makes athletic victory an occasion for myth and for warnings about mortal limits.

Shelley put atheism, revolution, and free love into lines nobody has matched for sheer music. In "Ozymandias" a tyrant's boast survives as two stone legs and a shattered face in empty sand.

Nine sections of prose delirium in which Rimbaud, eighteen years old, arraigns his ancestry, his damnation, and his own attempt to derange the senses into vision. Modernism starts in this voice.

Bread and circuses came from here, and so did the line about guarding the guards. Juvenal turns sixteen poems of fury on imperial Rome, where an honest man cannot afford to live.

Waiting outside a Leningrad prison with a parcel for her son, Akhmatova was asked whether she could describe this. Requiem was the answer. Her love lyrics have the same merciless exactness.

Fifty thousand couplets carry Iran from creation to the Arab conquest, past a tyrant with snakes growing from his shoulders and the hero Rostam meeting a young champion he does not recognize.

Pope wrote couplets that turned into proverbs, including "to err is human, to forgive divine." He built a mock epic around a stolen lock of hair and shredded his enemies in verse.

Daffodils, a solitary reaper singing in a field, and a valley revisited after five years: Wordsworth wrote these in ordinary speech and found that remembering keeps remaking the person who remembers.

Three hundred and five songs from ancient China about courtship, harvest, soldiers on campaign, and bad government. Confucius taught from them, and every Chinese poet since has written with them in earshot.

Chaos comes first, then gods who overthrow their fathers in turn until Zeus wins and holds. Hesiod then turns to his idle brother to explain when to plow and why work is holy.

Lost in a dark wood, Dante follows the Roman poet Virgil down through nine circles, past lovers, popes, and traitors frozen in ice. Every punishment is built to answer its sin.

A Swedish king walks into a hall and asks three strangers how the world began and how it ends. Their answers are nearly all anyone now knows about Thor, Loki, and Ragnarok.

Grief for a wandering dervish named Shams turned Rumi into a poet of longing for God. His great Masnavi opens with a reed flute crying for the bed it was cut from.

Latin love poetry begins with Catullus, counting kisses by the thousand for the aristocrat he calls Lesbia and then admitting he hates and loves her at once. The obscenity still stings.

At Arthur's Christmas court a huge green man offers his neck to anyone willing to take the same blow a year later. Gawain swings, and the real test waits in a bedroom.

For twelve years a monster has emptied a Danish king's hall, until a young warrior sails over to wait for it in the dark. Fifty years on, the poem comes back for him.

Horace compresses wine, friendship, and the certainty of death into stanzas of exact and unhurried form, the summit of Latin lyric. Carpe diem is his line, and in context it is not cheerful.

Literature begins here. Gilgamesh bullies his city until the gods send a wild man to match him. They become friends, one dies, and grief drives the survivor to the end of the world.