Poems List

Sonnet For The End Of A Sequence

Sonnet For The End Of A Sequence

So take my vows and scatter them to sea;
Who swears the sweetest is no more than human.
And say no kinder words than these of me:
"Ever she longed for peace, but was a woman!
And thus they are, whose silly female dust
Needs little enough to clutter it and bind it,
Who meet a slanted gaze, and ever must
Go build themselves a soul to dwell behind it."


For now I am my own again, my friend!
This scar but points the whiteness of my breast;
This frenzy, like its betters, spins an end,
And now I am my own. And that is best.
Therefore, I am immeasurably grateful
To you, for proving shallow, false, and hateful.
340

Social Note

Social Note

Lady, lady, should you meet
One whose ways are all discreet,
One who murmurs that his wife
Is the lodestar of his life,
One who keeps assuring you
That he never was untrue,
Never loved another one . . .


Lady, lady, better run!
298

Somebody's Song

Somebody's Song

This is what I vow;
He shall have my heart to keep,
Sweetly will we stir and sleep,


All the years, as now.
Swift the measured sands may run;
Love like this is never done;
He and I are welded one:

This is what I vow.

This is what I pray:
Keep him by me tenderly;
Keep him sweet in pride of me,

Ever and a day;
Keep me from the old distress;
Let me, for our happiness,
Be the one to love the less:

This is what I pray.

This is what I know:
Lovers' oaths are thin as rain;
Love's a harbinger of pain


Would it were not so!
Ever is my heart a-thirst,
Ever is my love accurst;
He is neither last nor first:

This is what I know.
438

Second Love

Second Love

"So surely is she mine," you say, and turn
Your quick and steady mind to harder things-
To bills and bonds and talk of what men earn-
And whistle up the stair, of evenings.
And do you see a dream behind my eyes,
Or ask a simple question twice of me"
Thus women are," you say; for men are wise
And tolerant, in their security.


How shall I count the midnights I have known
When calm you turn to me, nor feel me start,
To find my easy lips upon your own
And know my breast beneath your rhythmic heart.
Your god defer the day I tell you this:
My lad, my lad, it is not you I kiss!
322

Salome's Dancing-Lesson

Salome's Dancing-Lesson

She that begs a little boon
(Heel and toe! Heel and toe!)
Little gets- and nothing, soon.
(No, no, no! No, no, no!)
She that calls for costly things
Priceless finds her offeringsWhat's
impossible to kings?
(Heel and toe! Heel and toe!)


Kings are shaped as other men.
(Step and turn! Step and turn!)
Ask what none may ask again.
(Will you learn? Will you learn?)
Lovers whine, and kisses pall,
Jewels tarnish, kingdoms fallDeath's
the rarest prize of all!
(Step and turn! Step and turn!)


Veils are woven to be dropped.
(One, two, three! One, two, three!)
Aging eyes are slowest stopped.
(Quietly! Quietly!)
She whose body's young and cool
Has no need of dancing-school-
Scratch a king and find a fool!
(One, two, three! One, two, three!)
302

Rondeau Redoublé

Rondeau Redoublé

[and scarcely worth the trouble, at that]

The same to me are somber days and gay.
Though Joyous dawns the rosy morn, and bright,
Because my dearest love is gone away
Within my heart is melancholy night.

My heart beats low in loneliness, despite
That riotous Summer holds the earth in sway.
In cerements my spirit is bedight;
The same to me are somber days and gay.

Though breezes in the rippling grasses play,
And waves dash high and far in glorious might,
I thrill no longer to the sparkling day,
Though joyous dawns the rosy morn, and bright.

Ungraceful seems to me the swallow's flight;
As well might heaven's blue be sullen gray;
My soul discerns no beauty in their sight
Because my dearest love is gone away.

Let roses fling afar their crimson spray,
And virgin daisies splash the fields with white,
Let bloom the poppy hotly as it may,
Within my heart is melancholy night.

And this, O love, my pitiable plight
Whenever from my circling arms you stray;
This little world of mine has lost its light....
I hope to God, my dear, that you can say
The same to me.
349

Reuben's Children

Reuben's Children

Accursed from their birth they be
Who seek to find monogamy,
Pursuing it from bed to bedI
think they would be better dead.
385

Requiescat

Requiescat


Tonight my love is sleeping cold

Where none may see and none shall pass.
The daisies quicken in the mold,

And richer fares the meadow grass.

The warding cypress pleads the skies,

The mound goes level in the rain.
My love all cold and silent lies


Pray God it will not rise again!
311

Recurrence

Recurrence


We shall have our little day.
Take my hand and travel still
Round and round the little way,
Up and down the little hill.


It is good to love again;
Scan the renovated skies,
Dip and drive the idling pen,
Sweetly tint the paling lies.


Trace the dripping, pierced heart,
Speak the fair, insistent verse,
Vow to God, and slip apart,
Little better, Little worse.


Would we need not know before
How shall end this prettiness;
One of us must love the more,
One of us shall love the less.


Thus it is, and so it goes;
We shall have our day, my dear.
Where, unwilling, dies the rose
Buds the new, another year.
403

Prologue to a Saga

Prologue to a Saga

Maidens, gather not the yew,
Leave the glossy myrtle sleeping;
Any lad was born untrue,
Never a one is fit your weeping.


Pretty dears, your tumult cease;
Love's a fardel, burthening double.
Clear your hearts, and have you peace-
Gangway, girls: I'll show you trouble.
396

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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.