Excerpt from analysis of Macbeth’s “Is this a dagger….”
- / - / - / - / - /
I have thee not, and yet I see thee still.
Straight iambic pentameter here. The unbroken rhythm of the verse works in conjunction with the end-stops of this line and the line above; this is not a throwaway line. The stresses also highlight the key words in the parallelism (have, not, yet, see, still). Macbeth now has to make sense of this paradox; he plainly sees the dagger, it’s right there in front of him, and yet he cannot lay hands upon it. The starkness of the line helps to punctuate the subtle change in Macbeth’s tone as he tries to puzzle through this vision in the next few lines. Note that at this point, he sees a dagger and nothing more.
From Finding Your Role in DRAGON AGE With Writer David Gaider
by Courtney Woods
One mistake we sort of felt we made in Dragon Age: Origins was we thought more about characters we would like to write, as opposed to what we did in DA2: we started off thinking well let’s have some characters that play an important role in the plot – because there’s a few, Isabela, for instance has a particular role in the plot that she plays – but also characters that take a stance on some of the central issues. Having a character that doesn’t care either way doesn’t lead to conflict, right? And conflict is what you are looking for, so we have characters like Anders or Fenris who have a stake in the conflict that’s going on. Therefore when Hawke is doing things, especially in regards to those particular issues, those characters will have something to say. I think it’s important because sometimes these large issues of morality or things throughout the game like the mages and templars, some people choose to play as a mage so they have a personal stake in that conflict, but what if you don’t? The idea is that your followers are in a way a cipher for which the player experiences issues. They may not care about these large issues like saving the world, but you will care about saving one person. You may not care about mages versus templars, but if you care about Anders or you care about Fenris or your brother or sister, you might not but if you do that is another way for us to get the player engaged in the plot.
The Sun Rising
by John Donne
Busy old fool, unruly Sun,
Why dost thou thus,
Through windows, and through curtains, call on us?
Must to thy motions lovers’ seasons run?
Saucy pedantic wretch, go chide
Late school-boys and sour prentices,
Go tell court-huntsmen that the king will ride,
Call country ants to harvest offices;
Love, all alike, no season knows nor clime,
Nor hours, days, months, which are the rags of time.
Thy beams so reverend, and strong
Why shouldst thou think?
I could eclipse and cloud them with a wink,
But that I would not lose her sight so long.
If her eyes have not blinded thine,
Look, and to-morrow late tell me,
Whether both th’ Indias of spice and mine
Be where thou left’st them, or lie here with me.
Ask for those kings whom thou saw’st yesterday,
And thou shalt hear, “All here in one bed lay.”
She’s all states, and all princes I;
Nothing else is;
Princes do but play us; compared to this,
All honour’s mimic, all wealth alchemy.
Thou, Sun, art half as happy as we,
In that the world’s contracted thus;
Thine age asks ease, and since thy duties be
To warm the world, that’s done in warming us.
Shine here to us, and thou art everywhere;
This bed thy center is, these walls thy sphere.
Goldfish Are Ordinary
by Stacie Cassarino
At the pet store on Court Street,
I search for the perfect fish.
The black moor, the blue damsel,
cichlids and neons. Something
to distract your sadness, something
you don’t need to love you back.
Maybe a goldfish, the flaring tail,
orange, red-capped, pearled body,
the darting translucence? Goldfish
are ordinary, the boy selling fish
says to me. I turn back to the tank,
all of this grace and brilliance,
such simplicity the self could fail
to see. In three months I’ll leave
this city. Today, a chill in the air,
you’re reading Beckett fifty blocks
away, I’m looking at the orphaned
bodies of fish, undulant and gold fervor.
Do you want to see aggression?
the boy asks, holding a purple beta fish
to the light while dropping handfuls
of minnows into the bowl. He says,
I know you’re a girl and all
but sometimes it’s good to see.
Outside, in the rain, we love
with our hands tied,
while things tear away at us
The House of Poetry
by Jonah Winter
I believe that one should respect and rise to the occasion of the space one inhabits, allowing it all holiness which is its due, and allowing the space to determine, even, the nature and course of one’s behavior. Thus, if one is in a church, a meditative, quiet regard towards the things of this world, or the next, shall assume the shape of the self, freeing the self from the need of deciding or imposing a pre-determined set of qualities upon the church. The self becomes the church, emptied of its clergy, ready to be filled by the spirit of Something that is real, to be filled by the same something which makes the church the church, to become, in other words, a part of the church. As with the church, the poem should inspire a similar behavior. Emptied, one enters the poem without agenda, except for the focus necessary in the depositing of one’s worldly, unpoemly, goods at the door of the poem. What is required is a sense of the poem’s peculiar demands. This sense is attained through quiet and through listening, not listening to the random voices wreaking chaos on the mind, but listening to the one voice so clear it has to be a poem. This is how one respects and thus inhabits the house of poetry.
From Mind Rhyme
Mind rhyme is the suggestion of a rhyme which is left unsaid and must be inferred by the listener. Mind rhyme may be achieved either by stopping short, or by replacing the expected word with another (which may have the same rhyme or not). Teasing rhyme is the use of mind rhyme as a form of innuendo, where the unsaid word is taboo or completes a sentence indelicately.
An example, in the context of cheerleading:
"Raa Raa REE! Kick ‘em in the knee! / Raa Raa RASS! Kick ‘em in the other knee!"
(I’ve been looking for this for so long! and can stop having really circuitous conversations with people that begin, “Have you seen “Frozen”?)
by Li-Young Lee
To pull the metal splinter from my palm
my father recited a story in a low voice.
I watched his lovely face and not the blade.
Before the story ended, he’d removed
the iron sliver I thought I’d die from.
I can’t remember the tale,
but hear his voice still, a well
of dark water, a prayer.
And I recall his hands,
two measures of tenderness
he laid against my face,
the flames of discipline
he raised above my head.
Had you entered that afternoon
you would have thought you saw a man
planting something in a boy’s palm,
a silver tear, a tiny flame.
Had you followed that boy
you would have arrived here,
where I bend over my wife’s right hand.
Look how I shave her thumbnail down
so carefully she feels no pain.
Watch as I lift the splinter out.
I was seven when my father
took my hand like this,
and I did not hold that shard
between my fingers and think,
Metal that will bury me,
christen it Little Assassin,
Ore Going Deep for My Heart.
And I did not lift up my wound and cry,
Death visited here!
I did what a child does
when he’s given something to keep.
I kissed my father.
Oh, I’m a Stone
by Diane Seuss
There was no relief from being
human and so I turned to stone
and now there’s no relief
from being a stone. I didn’t
choose to be a stone.
Who would choose to be a stone?
The stone you pick up on the path
to grandma’s house didn’t choose
the path of being a stone.
Believe me. I should know.
I’m a stone. Cold, through
and through. Reverend Anne
tossed her rosary beads
from hand to hand and she said
to me you will be cold.
She shivered when she spoke it.
Those beads were like thick cataracts
over muddy eyes. She was a soothsayer.
Her shack smelled of roses
even though there were no roses
in the vicinity. Her saint was Theresa.
Reagan was president. She called him
the man whose press conferences
interrupted soap operas.
Her stories, she called them.
She predicted the child I’d have.
Curly-haired, she said.
His daddy’s name will start with a P.
It was a long labor. 48 hours without
relief. They ended up gutting me
to get him out. Silver-blue cord
wrapped around his neck, thick
as mooring rope. She predicted
the eight-point buck would smash
through the windshield
of my fern-green car.
That car was built like a tank
but the motor ended up
in the front seat. Had to use my knife
to put the animal out of its misery.
Warm throat, stiff gray-brown fur,
hot blood, eye hazing over
as the lights went out. Farmer hung him
up in a tree to butcher him. No reason
for that meat to go to waste.
Look at the balls on that fellow.
My white dress blood-drenched.
There by the Great Miami.
Ohio was not good to me.
Curly-haired, Reverend Anne said,
and you’ll live by a river that talk-sings,
and things will happen, many things.
Cold, she said. Not a precious stone.
Not even semi-precious.
Just gray and roundish. Little more
than a pebble. And she shivered
and showed me the door.
by Hannah Gamble
you have a cut above your right eye
where have you been
while you were gone none of our appliances
would work for me
none of the mirrors would talk
to me, either
I looked out the window and saw a tree
doubled over as if
its sap had suddenly curdled and I
if these sparse woods, if these faint vines
fall apart, isn’t it because I’m
losing my hair, because I’m tearing my nails
away from my hands and you
came home tonight with a cut
and buttons missing
who is sending us this message
no longer comes to the house, maybe his bicycle
has rusted, maybe
a cancer took both of his legs
why did you
come home tonight if you aren’t
ready to tell me
Early in the Morning
by Li-Young Lee
While the long grain is softening
in the water, gurgling
over a low stove flame, before
the salted Winter Vegetable is sliced
for breakfast, before the birds,
my mother glides an ivory comb
through her hair, heavy
and black as calligrapher’s ink.
She sits at the foot of the bed.
My father watches, listens for
the music of comb
My mother combs,
pulls her hair back
tight, rolls it
around two fingers, pins it
in a bun to the back of her head.
For half a hundred years she has done this.
My father likes to see it like this.
He says it is kempt.
But I know
it is because of the way
my mother’s hair falls
when he pulls the pins out.
Easily, like the curtains
when they untie them in the evening.
[Dear Angry Mob,]
by Joshua Beckman
Dear Angry Mob,
Oak Wood Trail is closed to you. We
feel it unnecessary to defend our position,
for we have always thought of ourselves
(and rightly, I venture) as a haven for
those seeking a quiet and solitary
contemplation. We are truly sorry
for the inconvenience.
PS Ofttimes as the day ends
on a wet bed of yellow leaves
or the sky densens gray and dark
I am brought to imagine
the growing disquiet
in the hearts of my countrymen
Winged and Acid Dark
by Robert Hass
A sentence with “dappled shadow” in it.
Something not sayable
spurting from the morning silence,
secret as a thrush.
The other man, the officer, who brought onions
and wine and sacks of flour,
the major with the swollen knee,
wanted intelligent conversation afterward.
Having no choice, she provided that, too.
Potsdamerplatz, May 1945.
When the first one was through he pried her mouth open.
Bashō told Rensetsu to avoid sensational materials.
If the horror of the world were the truth of the world,
he said, there would be no one to say it
and no one to say it to.
I think he recommended describing the slightly frenzied
swarming of insects near a waterfall.
Pried her mouth open and spit in it.
We pass these things on,
probably, because we are what we can imagine.
Something not sayable in the morning silence.
The mind hungering after likenesses. “Tender sky,” etc.,
curves the swallows trace in air.
by Li-Young Lee
Sad is the man who is asked for a story
and can’t come up with one.
His five-year-old son waits in his lap.
Not the same story, Baba. A new one.
The man rubs his chin, scratches his ear.
In a room full of books in a world
of stories, he can recall
not one, and soon, he thinks, the boy
will give up on his father.
Already the man lives far ahead, he sees
the day this boy will go. Don’t go!
Hear the alligator story! The angel story once more!
You love the spider story. You laugh at the spider.
Let me tell it!
But the boy is packing his shirts,
he is looking for his keys. Are you a god,
the man screams, that I sit mute before you?
Am I a god that I should never disappoint?
But the boy is here. Please, Baba, a story?
It is an emotional rather than logical equation,
an earthly rather than heavenly one,
which posits that a boy’s supplications
and a father’s love add up to silence.
Israel’s Only Savior
From Isaiah 43
Do not fear, for I have redeemed you;
I have summoned you by name; you are mine.
When you pass through the waters,
I will be with you;
and when you pass through the rivers,
they will not sweep over you.
When you walk through the fire,
you will not be burned;
the flames will not set you ablaze.