Poems List

The False Friends

The False Friends

They laid their hands upon my head,
They stroked my cheek and brow;
And time could heal a hurt, they said,
And time could dim a vow.


And they were pitiful and mild
Who whispered to me then,
"The heart that breaks in April, child,
Will mend in May again."


Oh, many a mended heart they knew.
So old they were, and wise.
And little did they have to do
To come to me with lies!


Who flings me silly talk of May
Shall meet a bitter soul;
For June was nearly spent away
Before my heart was whole.
414

The Dramatists

The Dramatists

A string of shiny days we had,
A spotless sky, a yellow sun;
And neither you nor I was sad

When that was through and done.

But when, one day, a boy comes by
And pleads me with your happiest vow,
"There was a lad I knew--" I'll sigh,
"I do not know him now."

And when another girl shall pass
And speak a little name I said,
Then you will say, "There was a lassI
wonder is she dead."

And each of us will sigh, and start
A-talking of a faded year,
And lay a hand above a heart,
And dry a pretty tear.
365

The Danger Of Writing Defiant Verse

The Danger Of Writing Defiant Verse

And now I have another lad!
No longer need you tell

How all my nights are slow and sad
For loving you too well.

His ways are not your wicked ways,
He's not the like of you.

He treads his path of reckoned days,
A sober man, and true.

They'll never see him in the town,
Another on his knee.

He'd cut his laden orchards down,
If that would pleasure me.

He'd give his blood to paint my lips
If I should wish them red.

He prays to touch my finger-tips
Or stroke my prideful head.

He never weaves a glinting lie,
Or brags the hearts he'll keep.

I have forgotten how to sighRemembered
how to sleep.

He's none to kiss away my mindA
slower way is his.

Oh, Lord! On reading this, I find
A silly lot he is.
360

The Burned Child

The Burned Child

Love has had his way with me.
This my heart is torn and maimed

Since he took his play with me.
Cruel well the bow-boy aimed,

Shot, and saw the feathered shaft
Dripping bright and bitter red.

He that shrugged his wings and laughedBetter
had he left me dead.

Sweet, why do you plead me, then,
Who have bled so sore of that?

Could I bear it once again? . . .
Drop a hat, dear, drop a hat!
343

Testament

Testament


Oh, let it be a night of lyric rain
And singing breezes, when my bell is tolled.
I have so loved the rain that I would hold
Last in my ears its friendly, dim refraln.
I shall lie cool and quiet, who have lain
Fevered, and watched the book of day unfold.
Death will not see me flinch; the heart is bold
That pain has made incapable of pain.


Kinder the busy worms than ever love;
It will be peace to lie there, empty-eyed,
My bed made secret by the leveling showers,
My breast replenishing the weeds above.
And you will say of me, "Then has she died?
Perhaps I should have sent a spray of flowers."
354

Surprise

Surprise


My heart went fluttering with fear
Lest you should go, and leave me here
To beat my breast and rock my head
And stretch me sleepless on my bed.
Ah, clear they see and true they say
That one shall weep, and one shall stray
For such is Love's unvarying law....
I never thought, I never saw
That I should be the first to go;
How pleasant that it happened so!
330

Symptom Recital

Symptom Recital

I do not like my state of mind;
I'm bitter, querulous, unkind.
I hate my legs, I hate my hands,
I do not yearn for lovelier lands.
I dread the dawn's recurrent light;
I hate to go to bed at night.
I snoot at simple, earnest folk.
I cannot take the gentlest joke.
I find no peace in paint or type.
My world is but a lot of tripe.
I'm disillusioned, empty-breasted.
For what I think, I'd be arrested.
I am not sick, I am not well.
My quondam dreams are shot to hell.
My soul is crushed, my spirit sore;
I do not like me any more.
I cavil, quarrel, grumble, grouse.
I ponder on the narrow house.
I shudder at the thought of men....
I'm due to fall in love again.
499

Summary

Summary


Every love's the love before
In a duller dress.

That's the measure of my loreHere's
my bitterness:

Would I knew a little more,
Or very much less!
308

Story

Story


"And if he's gone away," said she,
"Good riddance, if you're asking me.
I'm not a one to lie awake
And weep for anybody's sake.
There's better lads than him about!
I'll wear my buckled slippers out
A-dancing till the break of day.
I'm better off with him away!
And if he never come," said she,
"Now what on earth is that to me?
I wouldn't have him back!"


I hope
Her mother washed her mouth with soap.
379

Song Of One Of The Girls

Song Of One Of The Girls

Here in my heart I am Helen;
I'm Aspasia and Hero, at least.
I'm Judith, and Jael, and Madame de Stael;
I'm Salome, moon of the East.

Here in my soul I am Sappho;
Lady Hamilton am I, as well.
In me Recamier vies with Kitty O'Shea,
With Dido, and Eve, and poor Nell.

I'm of the glamorous ladies
At whose beckoning history shook.
But you are a man, and see only my pan,
So I stay at home with a book.
298

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Identification and basic context

Dorothy Parker, born Dorothy Rothschild, was a renowned American poet, short story writer, critic, and satirist. She is best known for her acerbic wit, her incisive social commentary, and her masterful use of the epigram. Parker was a central figure in the literary scene of New York City during the 1920s and 1930s, particularly associated with the famous Algonquin Round Table. Her work often reflected a disillusionment with conventional societal norms and explored themes of love, loss, and the absurdities of modern life. She was a significant voice of her time, known for her independent spirit and sharp intellect.

Childhood and education

Dorothy Parker's early life was marked by a sense of isolation and a precocious intellect. She received a formal education at the Convent of Mount St. Ursula and the Blessed Sacrament Academy. However, she was largely self-taught, devouring books and developing a keen observational eye from a young age. Her experiences with loss, including the early death of her mother and a difficult relationship with her father and stepmother, contributed to a certain cynicism and independence that would later permeate her writing. She possessed a natural talent for language and a dry sense of humor that set her apart.

Literary trajectory

Parker began her literary career in the advertising world before finding her voice in journalism and poetry. She worked for Vanity Fair and later contributed to The New Yorker, where her reviews and short pieces gained widespread attention. Her first collection of poems, "Enough Rope," published in 1926, was a critical and commercial success, establishing her as a significant literary figure. She continued to publish poetry collections, short stories, and plays throughout her career. Her trajectory saw her evolve from a young writer finding her way to a celebrated, albeit often controversial, literary personality.

Works, style, and literary characteristics

Parker's major works include the poetry collections "Enough Rope" (1926), "Sunset Gun" (1928), and "Death and Taxes" (1931), as well as numerous short stories and essays. Her dominant themes include the disappointments of love, the superficiality of society, disillusionment, and the search for meaning in a seemingly absurd world. Her style is characterized by its brevity, precision, and devastating wit. She was a master of the epigram, crafting memorable lines that often delivered a sharp, ironic punch. Her tone is typically cynical, satirical, and world-weary, though often laced with a profound underlying sadness. Her poetic voice is confessional yet detached, offering keen observations on the human condition. Parker's language is deceptively simple, but her word choices are always deliberate, creating a potent impact. She injected a modern, urban sensibility into her verse, capturing the zeitgeist of her era.

Cultural and historical context

Parker was deeply embedded in the vibrant cultural milieu of New York City during the Roaring Twenties and the Great Depression. She was a central figure in the Algonquin Round Table, a group of writers, critics, and actors who met regularly at the Algonquin Hotel, engaging in witty banter and intellectual sparring. This period fostered a climate of artistic experimentation and social liberation. Parker's work often critiqued the societal conventions and hypocrisies of the time, particularly concerning gender roles and the pressures faced by women. She was also politically active, often aligning with progressive causes, which sometimes led to controversy and blacklisting during the McCarthy era.

Personal life

Dorothy Parker's personal life was often tumultuous, marked by two marriages to Edwin Pond Parker II, and later to Alan Campbell, with whom she shared a complex relationship. Her romantic relationships often served as inspiration for her poignant and often sorrowful poems about love and heartbreak. She struggled with alcoholism and bouts of depression, issues that sometimes surfaced in her writing. Despite her public persona as a sophisticated wit, she harbored a deep sensitivity and a profound empathy for the marginalized. Her friendships within the literary circle were significant, but her sharp tongue also led to rivalries.

Recognition and reception

During her lifetime, Dorothy Parker achieved considerable fame and recognition for her wit and literary contributions. She was a beloved figure for her sharp observations and her ability to articulate the anxieties and ironies of modern life. However, her critical reception was sometimes divided; while admired for her skill, some found her cynicism too pervasive. Posthumously, her reputation as a literary icon has grown, with her works being anthologized and studied for their enduring relevance and stylistic brilliance. She is particularly celebrated for her contributions to the short story and her influence on conversational and ironic modes of writing.

Influences and legacy

Parker was influenced by classical poets and her contemporaries, but she forged a unique style. Her legacy lies in her mastery of wit and irony, and her ability to capture the nuances of human relationships and societal critique with remarkable brevity. She influenced generations of writers who sought to emulate her sharp, epigrammatic style. Her contributions to feminist literature and her outspokenness on social issues have also cemented her place as a significant cultural figure. Her works continue to be read and appreciated for their timeless insights into the human condition.

Interpretation and critical analysis

Parker's work is frequently analyzed for its sophisticated use of irony, its exploration of existential themes, and its critique of social norms. Her poems often reveal a profound sadness beneath the witty surface, exploring the anxieties of modern womanhood and the complexities of love. Critics have debated the extent to which her cynicism reflects genuine despair or a form of protective detachment. Her ability to distill complex emotions into concise, memorable lines continues to fascinate readers and scholars.

Curiosities and lesser-known aspects

Parker was famously known for her sharp retorts and her often-cynical outlook, but she also possessed a deep well of compassion, particularly for social justice causes. She was an ardent supporter of civil rights and a staunch opponent of fascism, actively participating in political activism. Her personal life was often more complex and melancholic than her public persona suggested, marked by struggles with addiction and depression. She was also known for her love of animals, particularly her dogs.

Death and memory

Dorothy Parker died in 1967. In accordance with her wishes, her ashes were sent to the Garden of Remembrance at the All Faiths Cemetery in Queens, New York. Her memory is kept alive through her enduring literary works, which continue to be read, quoted, and admired for their wit, intelligence, and poignant observations on life.