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Your hands hold roses always in a way that says They are not only yours; the beautiful changes In such kind ways, Wishing ever to sunder Things and t… - Richard Wilbur
" "Your hands hold roses always in a way that says They are not only yours; the beautiful changes In such kind ways, Wishing ever to sunder Things and things' selves for a second finding, to lose For a moment all that it touches back to wonder.
English
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About Richard Wilbur
Richard Purdy Wilbur (1 March 1921 - 14 October 2017) was an American poet and literary translator. He was appointed the second Poet Laureate Consultant in Poetry to the Library of Congress in 1987, and twice received the Pulitzer Prize for Poetry, in 1957 and again in 1989.
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Also Known As
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Richard Purdy Wilbur
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Additional quotes by Richard Wilbur
Seed Leaves
Homage to R. F.
Here something stubborn comes,
Dislodging the earth crumbs
And making crusty rubble.
it comes up bending double,
And looks like a green staple.
It could be seedling maple,
Or artichoke, or bean.
That remains to be seen.
Forced to make choice of ends,
The stalk in time unbends,
Shakes off the seed-case, heaves
Aloft, and spreads two leaves
Which still display no sure
And special signature.
Toothless and fat, they keep
The oval form of sleep.
This plant would like to grow
And yet be embryo;
In crease, and yet escape
The doom of taking shape;
Be vaguely vast, and climb
To the tip end of time
With all of space to fill,
Like boundless Igdrasil
That has the stars for fruit.
But something at the root
More urgent that the urge
Bids two true leaves emerge;
And now the plant, resigned
To being self-defined
Before it can commerce
With the great universe,
Takes aim at all the sky
And starts to ramify.
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In each art the difficulty of the form is a substitution for the difficulty of direct apprehension and expression of the object. The first difficulty may be more or less overcome, but the second is insuperable; thus every poem begins, or ought to, by a disorderly retreat to defensible positions. Or, rather, by a perception of the hopelessness of direct combat, and a resort to the warfare of spells, effigies, and prophecies. The relation between the artist and reality is an oblique one, and indeed there is no good art which is not consciously oblique. If you respect the reality of the world, you know that you can approach that reality only by indirect means.
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