Some Great Poems to Snuggle up to

As many of you know I am a passionate poetry fan. And I want to share that love with you all. But I’m not just forcing poems down your throats because I can, poetry is an important area of study for actors. In most drama schools around the world actors will either have a specialised poetry class, or will at least cover poetry as part of their training. This is because the complex, rich text forces us to engage our imagination, clarify our thoughts and step-up vocally. Many of the great poets from Shakespeare, to Kate Tempest are also playwrights and there are many plays where without a bedrock of poetic knowledge, you will simply fall flat.

In this article I am going to wander through time and share some of my favourite poems, starting with the man himself and all the way to the fantastic contemporary poet, Kaveh Akbar.

Note: if you love any of these poems, please go and check out the writers, buy a collection and support poets!

Best Poems for Actors

Shakespeare (1564)

Sonnet 27

Weary with toil, I haste me to my bed,
The dear repose for limbs with travel tired;
But then begins a journey in my head,
To work my mind, when body’s work’s expired:
For then my thoughts (from far where I abide)
Intend a zealous pilgrimage to thee,
And keep my drooping eyelids open wide,
Looking on darkness which the blind do see:
Save that my soul’s imaginary sight
Presents thy shadow to my sightless view,
Which, like a jewel hung in ghastly night,
Makes black night beauteous and her old face new.
Lo, thus, by day my limbs, by night my mind,
For thee, and for myself, no quiet find.

Sonnet 29

When, in disgrace with fortune and men’s eyes,
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon myself and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possessed,
Desiring this man’s art and that man’s scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee, and then my state,
(Like to the lark at break of day arising
From sullen earth) sings hymns at heaven’s gate;
For thy sweet love remembered such wealth brings
That then I scorn to change my state with kings.

T.S. Eliot (1888)

The Love Song of J.Alfred Prufrock

S’io credesse che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma percioche giammai di questo fondo
Non torno vivo alcun, s’i’odo il vero,
Senza tema d’infamia ti rispondo.

Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question …
Oh, do not ask, “What is it?”
Let us go and make our visit.

In the room the women come and go
Talking of Michelangelo.

The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes,
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.

And indeed there will be time
For the yellow smoke that slides along the street,
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.

In the room the women come and go
Talking of Michelangelo.

And indeed there will be time
To wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair,
With a bald spot in the middle of my hair —
(They will say: “How his hair is growing thin!”)
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin —
(They will say: “But how his arms and legs are thin!”)
Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.

For I have known them all already, known them all:
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?

And I have known the eyes already, known them all—
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
To spit out all the butt-ends of my days and ways?
And how should I presume?

And I have known the arms already, known them all—
Arms that are braceleted and white and bare
(But in the lamplight, downed with light brown hair!)
Is it perfume from a dress
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?

Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows? …

I should have been a pair of ragged claws
Scuttling across the floors of silent seas.

And the afternoon, the evening, sleeps so peacefully!
Smoothed by long fingers,
Asleep … tired … or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis?
But though I have wept and fasted, wept and prayed,
Though I have seen my head (grown slightly bald) brought in upon a platter,
I am no prophet — and here’s no great matter;
I have seen the moment of my greatness flicker,
And I have seen the eternal Footman hold my coat, and snicker,
And in short, I was afraid.

And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it towards some overwhelming question,
To say: “I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all”—
If one, settling a pillow by her head
Should say: “That is not what I meant at all;
That is not it, at all.”

And would it have been worth it, after all,
Would it have been worth while,
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along the floor—
And this, and so much more?—
It is impossible to say just what I mean!
But as if a magic lantern threw the nerves in patterns on a screen:
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
“That is not it at all,
That is not what I meant, at all.”

No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;
At times, indeed, almost ridiculous—
Almost, at times, the Fool.

I grow old … I grow old …
I shall wear the bottoms of my trousers rolled.

Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.

I do not think that they will sing to me.

I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.
We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown.

Emily Dickinson (1833)

I cannot live with You 

I cannot live with You –
It would be Life –
And Life is over there –
Behind the Shelf

The Sexton keeps the Key to –
Putting up
Our Life – His porcelain –
Like a Cup –

Discarded of the Housewife –
Quaint – or Broke –
A newer Sevres pleases –
Old Ones crack –

I could not die- with You –
For One must wait
To shut the Other’s Gaze down –
You – could not –

And I – Could I stand by
And see You – freeze –
Without my Right of Frost –
Death’s privilege?

Nor could I rise – with You –
Because Your Face
Would put out Jesus’ –
That New Grace

Glow plain – and foreign
On my homesick Eye –
Except that You than He
Shone closer by –

They’d judge Us – How –
For You – served Heaven – You know,
Or sought to –
I could not –

Because You saturated Sight –
And I had not more Eyes
For sordid excellence
As Paradise

And were You lost, I would be –
Though My Name
Rang loudest
On the Heavenly fame –

And were You – saved –
And I – condemned to be
Where You were not –
That self – were Hell to Me –

So We must meet apart –
You there – I – here –
With just the Door ajar
That Oceans are – and Prayer –
And that White Sustenance –
Despair –

W.H Auden (1907)

Funeral Blues

Stop all the clocks, cut off the telephone,
Prevent the dog from barking with a juicy bone,
Silence the pianos and with muffled drum
Bring out the coffin, let the mourners come.

Let aeroplanes circle moaning overhead
Scribbling on the sky the message He Is Dead,
Put crepe bows round the white necks of the public doves,
Let the traffic policemen wear black cotton gloves.

He was my North, my South, my East and West,
My working week and my Sunday rest,
My noon, my midnight, my talk, my song;
I thought that love would last for ever: I was wrong.

The stars are not wanted now: put out every one;
Pack up the moon and dismantle the sun;
Pour away the ocean and sweep up the wood;
For nothing now can ever come to any good.

Elizabeth Bishop (1911)

One Art

The art of losing isn’t hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.

Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn’t hard to master.

Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.

I lost my mother’s watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn’t hard to master.

I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn’t a disaster.

—Even losing you (the joking voice, a gesture
I love) I shan’t have lied. It’s evident
the art of losing’s not too hard to master
though it may look like (Write it!) like disaster.

Dylan Thomas (1914)

Do not go gentle into that good night

Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.

Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.

Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.

Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.

Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.

Philip Larkin (1922)

Aubade

I work all day, and get half-drunk at night.
Waking at four to soundless dark, I stare.
In time the curtain-edges will grow light.
Till then I see what’s really always there:
Unresting death, a whole day nearer now,
Making all thought impossible but how
And where and when I shall myself die.
Arid interrogation: yet the dread
Of dying, and being dead,
Flashes afresh to hold and horrify.

The mind blanks at the glare. Not in remorse
—The good not done, the love not given, time
Torn off unused—nor wretchedly because
An only life can take so long to climb
Clear of its wrong beginnings, and may never;
But at the total emptiness for ever,
The sure extinction that we travel to
And shall be lost in always. Not to be here,
Not to be anywhere,
And soon; nothing more terrible, nothing more true.

This is a special way of being afraid
No trick dispels. Religion used to try,
That vast moth-eaten musical brocade
Created to pretend we never die,
And specious stuff that says No rational being
Can fear a thing it will not feel, not seeing
That this is what we fear—no sight, no sound,
No touch or taste or smell, nothing to think with,
Nothing to love or link with,
The anaesthetic from which none come round.

And so it stays just on the edge of vision,
A small unfocused blur, a standing chill
That slows each impulse down to indecision.
Most things may never happen: this one will,
And realisation of it rages out
In furnace-fear when we are caught without
People or drink. Courage is no good:
It means not scaring others. Being brave
Lets no one off the grave.
Death is no different whined at than withstood.

Slowly light strengthens, and the room takes shape.
It stands plain as a wardrobe, what we know,
Have always known, know that we can’t escape,
Yet can’t accept. One side will have to go.
Meanwhile telephones crouch, getting ready to ring
In locked-up offices, and all the uncaring
Intricate rented world begins to rouse.
The sky is white as clay, with no sun.
Work has to be done.
Postmen like doctors go from house to house.

James Merrill (1926)

164 East 72nd Street

These city apartment windows — my grandmother’s once –
Must be replaced come Fall at great expense.
Pre-war sun shone through them on many a Saturday
Lunch unconsumed while frantic adolescence
Wheedled an old lady into hat and lipstick,
Into her mink, the taxi, the packed lobby,
Into our seats. Whereupon gold curtains parted
On Lakmé’s silvery, not yet broken-hearted
Version of things as they were. But what remains
Exactly as it was except those panes?
Today’s memo from the Tenants’ Committee deplores
Even the ongoing deterioration
Of the widows in our building. Well. On the bright side,
Heating costs and street noise will be cut.
Sirens at present like intergalactic gay
Bars in full swing whoop past us night and day.

Sometimes, shocked wide awake, I’ve tried to reckon
How many lives — fifty, a hundred thousand? —
Are being shortened by that din of crosstown
Ruby flares, wherever blinds don’t quite . . .
And shortened by how much? Ten minutes each?
Reaching the Emergency Room alive, the victim
Would still have to live years, just to repair
The sonic fallout of a single scare.

”Do you ever wonder where you’ll — ” Oh my dear,
Asleep somewhere, or at the wheel. Not here.
Within months of the bathroom ceiling’s cave-in,
Which missed my grandmother by a white hair,
She moved back South. The point’s to live in style,
Not to drop dead in it. On a carpet of flowers
Nine levels above ground, like Purgatory,
Our life is turning into a whole new story:

Juices, blue cornbread, afternoons at the gym –
Imagine who remembers how to swim!
Evenings of study, or intensive care
For one another. Early to bed. And later,
If the mirror’s drowsy eye perceives a slight
But brilliant altercation between curtains
Healed by the leaden hand of — one of us?
A white-haired ghost? or the homunculus

A gentle alchemist behind them trains
To put in order these nocturnal scenes –
Two heads already featureless in gloom
Have fallen back to sleep. Tomorrow finds me
Contentedly playing peekaboo with a sylphlike
Quirk in the old glass, making the brickwork
On the street’s far (bright) side ripple. Childhood’s view.
My grandmother — an easy-to-see-through

Widow by the time she died — made it my own.
Bless her good sense. Far from those parts of town
Given to high finance, or the smash hit and steak house,
Macy’s or crack, Saks or quick sex, this neighborhood
Saunters blandly forth, adjusting its clothing.
Things done in purple light before we met,
Uncultured things that twitched as on a slide
If thought about, fade like dreams. Two Upper East Side

Boys again! Rereading Sir Walter Scott
Or Through the Looking Glass, it’s impossible not
To feel how adult life, with its storms and follies,
Is letting up, leaving me ten years old,
Trustful, inventive, once more good as gold
— And counting on this to help, should a new spasm
Wake the gray sleeper, or to improve his chances
When ceilings flush with unheard ambulances.

Philip Levine (1928)

Burial Rites

Everyone comes back here to die
as I will soon. The place feels right
since it’s half dead to begin with.
Even on a rare morning of rain,
like this morning, with the low sky
hoarding its riches except for
a few mock tears, the hard ground
accepts nothing. Six years ago
I buried my mother’s ashes
beside a young lilac that’s now
taller than I, and stuck the stub
of a rosebush into her dirt,
where like everything else not
human it thrives. The small blossoms
never unfurl; whatever they know
they keep to themselves until
a morning rain or a night wind
pares the petals down to nothing.
Even the neighbor cat who shits
daily on the paths and then hides
deep in the jungle of the weeds
refuses to purr. Whatever’s here
is just here, and nowhere else,
so it’s right to end up beside
the woman who bore me, to shovel
into the dirt whatever’s left
and leave only a name for some-
one who wants it. Think of it,
my name, no longer a portion
of me, no longer inflated
or bruised, no longer stewing
in a rich compost of memory
or the simpler one of bone shards,
dirt, kitty litter, wood ashes,
the roots of the eucalyptus
I planted in ’73,
a tiny me taking nothing,
giving nothing, and free at last.

Sylvia Plath (1932)

Daddy

You do not do, you do not do
Any more, black shoe
In which I have lived like a foot
For thirty years, poor and white,
Barely daring to breathe or Achoo.

Daddy, I have had to kill you.
You died before I had time–
Marble-heavy, a bag full of God,
Ghastly statue with one gray toe
Big as a Frisco seal

And a head in the freakish Atlantic
Where it pours bean green over blue
In the waters off beautiful Nauset.
I used to pray to recover you.
Ach, du.

In the German tongue, in the Polish town
Scraped flat by the roller
Of wars, wars, wars.
But the name of the town is common.
My Polack friend

Says there are a dozen or two.
So I never could tell where you
Put your foot, your root,
I never could talk to you.
The tongue stuck in my jaw.

It stuck in a barb wire snare.
Ich, ich, ich, ich,
I could hardly speak.
I thought every German was you.
And the language obscene

An engine, an engine
Chuffing me off like a Jew.
A Jew to Dachau, Auschwitz, Belsen.
I began to talk like a Jew.
I think I may well be a Jew.

The snows of the Tyrol, the clear beer of Vienna
Are not very pure or true.
With my gipsy ancestress and my weird luck
And my Taroc pack and my Taroc pack
I may be a bit of a Jew.

I have always been scared of you,
With your Luftwaffe, your gobbledygoo.
And your neat mustache
And your Aryan eye, bright blue.
Panzer-man, panzer-man, O You–

Not God but a swastika
So black no sky could squeak through.
Every woman adores a Fascist,
The boot in the face, the brute
Brute heart of a brute like you.

You stand at the blackboard, daddy,
In the picture I have of you,
A cleft in your chin instead of your foot
But no less a devil for that, no not
Any less the black man who

Bit my pretty red heart in two.
I was ten when they buried you.
At twenty I tried to die
And get back, back, back to you.
I thought even the bones would do.

But they pulled me out of the sack,
And they stuck me together with glue.
And then I knew what to do.
I made a model of you,
A man in black with a Meinkampf look

And a love of the rack and the screw.
And I said I do, I do.
So daddy, I’m finally through.
The black telephone’s off at the root,
The voices just can’t worm through.

If I’ve killed one man, I’ve killed two–
The vampire who said he was you
And drank my blood for a year,
Seven years, if you want to know.
Daddy, you can lie back now.

There’s a stake in your fat black heart
And the villagers never liked you.
They are dancing and stamping on you.
They always knew it was you.
Daddy, daddy, you bastard, I’m through.

Kaveh Akbar (1989)

What use is knowing anything if no one is around

What use is knowing anything if no one is around
to watch you know it? Plants reinvent sugar daily
and hardly anyone applauds. Once as a boy I sat
in a corner covering my ears, singing Quranic verse

after Quranic verse. Each syllable was perfect, but only
the lonely rumble in my head gave praise. This is why
we put mirrors in birdcages, why we turn on lamps

to double our shadows. I love my body more
than other bodies. When I sleep next to a man, he becomes
an extension of my own brilliance. Or rather, he becomes
an echo of my own anticlimax. I was delivered

from dying like a gift card sent in lieu of a pound
of flesh. My escape was mundane, voidable. Now
I feed faith to faith, suffer human noise, complain
about this or that heartache. The spirit lives in between

the parts of a name. It is vulnerable only to silence
and forgetting. I am vulnerable to hammers, fire,
and any number of poisons. The dream, then: to erupt
into a sturdier form, like a wild lotus bursting into

its tantrum of blades. There has always been a swarm
of hungry ghosts orbiting my body—even now,
I can feel them plotting in their luminous diamonds

of fog, each eying a rib or a thighbone. They are
arranging their plans like worms preparing
to rise through the soil. They are ready to die
with their kind, dry and stiff above the wet earth.

Source: New York Times (Hear full audio version)