Famous Family Poems - Page 2

21 - 30 of 30 Poems

  1. 21. Men At Forty

    • By Donald Justice

    Famous Poem

    As time passes, life changes. As people age, they become more reminiscent as they move farther from their childhoods. This poem shows the actions of a man entering the second half of his life. The poem is split into stanzas, but they do not follow a specific rhyme scheme. Donald Justice (1925-2004) was a teacher of poetry, and he experimented with and mastered a variety of poetic techniques.

    Men at forty
    Learn to close softly
    The doors to rooms they will not be
    Coming back to.

    At rest on a stair landing,
    They feel it
    Moving beneath them now like the deck of a ship,
    Though the swell is gentle.

    And deep in mirrors
    They rediscover
    The face of the boy as he practices trying
    His father’s tie there in secret

    And the face of that father,
    Still warm with the mystery of lather.
    They are more fathers than sons themselves now.
    Something is filling them, something

    That is like the twilight sound
    Of the crickets, immense,
    Filling the woods at the foot of the slope
    Behind their mortgaged houses.

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  3. 22. On Children

    Famous Poem

    "On Children" by Kahlil Gibran uses vivid imagery and metaphor. The poem describes the ways in which children enrich the lives of those who raise them, and speaks to the transformative power of parenthood. The lines "You may give them your love but not your thoughts" and "You may house their bodies but not their souls" uses rich imagery to describe the unique and separate nature of the relationship between parents and children. The lines "You are the bows from which your children as living arrows are sent forth" and "For even as love crowns you so shall he crucify you" use metaphors of arrows and crucifixion to describe the love and struggles of parenting. On Children" is a beautifully written and deeply affecting poem that speaks about the enduring bond between parent and child.

    Your children are not your children
    They are the sons and daughters of life's longing for itself
    They come through you but not from you
    And though they are with you yet they belong not to you

    You may give them your love but not your thoughts
    For they have their own thoughts
    You may house their bodies but not their souls
    For their souls dwell in the house of tomorrow

    Which you cannot visit, not even in your dreams
    You may strive to be like them
    But seek not to make them like you
    For life goes not backward, nor tarries with yesterday

    You are the bows from which your children
    As living arrows are sent forth
    The archer sees the mark upon the path of the infinite
    And he bends you with his might

    That his arrows may go swift and far
    Let your bending in the archer's hand be for gladness
    For even as he loves the arrow that flies
    So he loves also the bow that is stable

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  5. 23. I Hear America Singing

    Famous Poem

    Walt Whitman was an American poet who lived from 1819-1892. Some of his poetry was controversial because of the nature of its content, but he is believed to be the father of free verse (but he did not invent this form of poetry). He is also seen as a "poet of democracy" because he wrote so strongly about the American character. In this poem, Whitman shows how America is made up of a variety of people. It's the stories of those people who make America the strong and unique nation that it is.

    I hear America singing, the varied carols I hear,
    Those of mechanics, each one singing his as it should be blithe and strong,
    The carpenter singing his as he measures his plank or beam,
    The mason singing his as he makes ready for work, or leaves off work,
    The boatman singing what belongs to him in his boat, the deckhand singing on the steamboat deck,
    The shoemaker singing as he sits on his bench, the hatter singing as he stands,
    The wood-cutter's song, the ploughboy's on his way in the morning, or at noon intermission or at sundown,
    The delicious singing of the mother, or of the young wife at work, or of the girl sewing or washing,
    Each singing what belongs to him or her and to none else,
    The day what belongs to the day - at night the party of young fellows, robust, friendly,
    Singing with open mouths their strong melodious songs.

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  6. 24. Old Folks Laugh

    Famous Poem

    In "Old Folks Laugh," Maya Angelou explores a freedom that comes with old age. The poem contrasts the constrained and self-conscious behavior of young people with the unbridled laughter in old age. The imagery in the poem is vivid, describing the belly of old folks that jiggle like tambourines when they laugh, and their heads that wobble on brittle necks. The poem suggests that laughter allows the elderly to let go of their past regrets and pain and embrace the joy of the moment. Additionally, the poem implies that old folks have a certain wisdom, having lived through the best and the worst of times.

    They have spent their
    content of simpering,
    holding their lips this
    and that way, winding
    the lines between
    their brows. Old folks
    allow their bellies to jiggle like slow
    tambourines.
    The hollers
    rise up and spill
    over any way they want.
    When old folks laugh, they free the world.
    They turn slowly, slyly knowing
    the best and the worst
    of remembering.
    Saliva glistens in
    the corners of their mouths,
    their heads wobble
    on brittle necks, but
    their laps
    are filled with memories.
    When old folks laugh, they consider the promise
    of dear painless death, and generously
    forgive life for happening
    to them.

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  7. 25. A Smile To Remember

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    In "A Smile to Remember" by Charles Bukowski, the poet explores the complex dynamics of a dysfunctional family. The juxtaposition between the cheerful facade and the underlying pain is vividly portrayed. The goldfish in the bowl symbolize the fragile happiness that the mother tries to cultivate amidst the abusive relationship with the father. The poem highlights the contrast between the mother's persistent smile, urging happiness, and the harsh reality of domestic violence. The death of the goldfish serves as a metaphorical representation of the family's brokenness, while the act of throwing them to the cat further underscores the cruelty within the household. The final image of the mother's smile, tinged with sadness, leaves a lasting impression of the profound emotional struggle and the inability to find genuine happiness in such a troubled environment.

    we had goldfish and they circled around and around
    in the bowl on the table near the heavy drapes
    covering the picture window and
    my mother, always smiling, wanting us all
    to be happy, told me, ‘be happy Henry!’
    and she was right: it’s better to be happy if you
    can
    but my father continued to beat her and me several times a week while
    raging inside his 6—foot—two frame because he couldn’t
    understand what was attacking him from within.

    my mother, poor fish,
    wanting to be happy, beaten two or three times a
    week, telling me to be happy: 'Henry, smile!
    why don’t you ever smile?'

    and then she would smile, to show me how, and it was the
    saddest smile I ever saw

    one day the goldfish died, all five of them,
    they floated on the water, on their sides, their
    eyes still open,
    and when my father got home he threw them to the cat
    there on the kitchen floor and we watched as my mother
    smiled

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  8. 26. Beautiful Hands

    • By Ellen M.H. Gates

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    Ellen Maria Huntington Gates (1835 - 1920) was a poet and hymn writer. Her hymn "Your Mission" became known as "President Lincoln's favorite hymn" after he requested it be sung twice at an event during the American Civil War. Ellen lived in New York City until her death in 1920. "Beautiful Hands" by Ellen M.H. Gates is a poignant poem that recognizes the beauty and significance of aged and weathered hands. It reflects on the tireless work, sacrifices, and love that these hands have shown throughout life. While acknowledging the eventual passing of time, the poem offers a hopeful glimpse of an afterlife where the speaker envisions being reunited with their mother's hands.

    Such beautiful, beautiful hands!
        They're neither white nor small;
    And you, I know, would scarcely think
        That they are fair at all.
    I've looked on hands whose form and hue
        A sculptor's dream might be;
    Yet are those aged, wrinkled hands
        More beautiful to me.

    Such beautiful, beautiful hands!
        Though heart were weary and sad,
    Those patient hands kept toiling on,
        That the children might be glad.
    I always weep, as, looking back
        To childhood's distant day,
    I think how those hands rested not
        When mine were at their play.

    Such beautiful, beautiful hands!
        They're growing feeble now,
    For time and pain have left their mark
        On hands and heart and brow.
    Alas! alas! the nearing time,
        And the sad, sad day to me,
    When 'neath the daisies, out of sight,
        These hands will folded be.

    But oh! beyond this shadow land,
        Where all is bright and fair,
    I know full well these dear old hands
        Will palms of victory bear;
    Where crystal streams through endless years
        Flow over golden sands,
    And where the old grow young again,
        I'll clasp my mother's hands.

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  9. 27. To Mother

    • By Thomas W. Fessenden

    Famous Poem

    In "To Mother" by Thomas W. Fessenden, the poet pays a heartfelt tribute to his mother's profound influence, using simple yet powerful language. The poem emphasizes that although she didn't create famous artworks or write renowned poems, her impact was divinely felt within their home. Through vivid metaphors, the poet conveys that his mother's actions and values shaped him more profoundly than any art or architecture could. This poem beautifully captures the idea that a mother's love and guidance can be a work of art in itself.

    You painted no Madonnas
    On chapel walls in Rome,
    But with a touch diviner
    You lived one in your home.

    You wrote no lofty poems
    That critics counted art,
    But with a nobler vision
    You lived them in your heart.

    You carved no shapeless marble
    To some high-souled design,
    But with a finer sculpture
    You shaped this soul of mine.

    You built no great cathedrals
    That centuries applaud,
    But with a grace exquisite
    Your life cathedraled God.

    Had I the gift of Raphael,
    Or Michelangelo,
    Oh, what a rare Madonna
    My mother's life would show!

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  10. 28. Those Winter Sundays

    • By Robert Hayden

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    "Those Winter Sundays" by Robert Hayden is a poignant exploration of the emotional complexities within a father-child relationship. Through the use of evocative imagery, the poem reveals the speaker's retrospective understanding of the sacrifices made by his father out of love. The stark contrast between the cold mornings and the warmth created by the father's efforts underscores the theme of unspoken love and the son's regret for not appreciating it earlier. This poem delves into the universal theme of the struggle to fully comprehend love's selfless acts and the profound impact they have on one's life.

    Sundays too my father got up early
    and put his clothes on in the blueblack cold,
    then with cracked hands that ached
    from labor in the weekday weather made
    banked fires blaze. No one ever thanked him.

    I’d wake and hear the cold splintering, breaking.
    When the rooms were warm, he’d call,
    and slowly I would rise and dress,
    fearing the chronic angers of that house,

    Speaking indifferently to him,
    who had driven out the cold
    and polished my good shoes as well.
    What did I know, what did I know
    of love’s austere and lonely offices?

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  11. 29. Daddy

    Famous Poem

    In Sylvia Plath's "Daddy," the poet uses powerful and provocative language to explore complex emotions and relationships. Through vivid imagery and metaphor, Plath delves into her feelings of oppression and resentment, particularly towards her father. The poem is marked by its emotional intensity, with the speaker addressing her deceased father in a confrontational and accusatory manner. The use of metaphor, such as comparing her father to a Nazi and herself to a Jew, adds layers of meaning to the poem, while the repetition of "Daddy" underscores the speaker's struggle to come to terms with her father's memory. Plath's choice of words and imagery creates a vivid and emotionally charged narrative that delves into themes of identity, trauma, and catharsis.

    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.

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  12. 30. In The Waiting Room

    Famous Poem

    "In the Waiting Room" by Elizabeth Bishop delves into a young girl's moment of self-discovery during an unexpected and mundane experience. Through vivid imagery and introspection, the poem explores the themes of identity and the sudden realization of one's place in the world. The waiting room, initially filled with strangers, becomes a place where the speaker grapples with her own identity and mortality. The poem's detailed descriptions of the National Geographic magazine and its unsettling images symbolize the loss of innocence and the dawning awareness of human suffering. The shift from a sense of detachment to personal identification with the aunt's pain marks a crucial moment of growth and self-understanding. This poem navigates the complex journey from childhood innocence to the beginning of self-awareness and empathy.

    In Worcester, Massachusetts,
    I went with Aunt Consuelo
    to keep her dentist's appointment
    and sat and waited for her
    in the dentist's waiting room.
    It was winter. It got dark
    early. The waiting room
    was full of grown-up people,
    arctics and overcoats,
    lamps and magazines.
    My aunt was inside
    what seemed like a long time
    and while I waited I read
    the National Geographic
    (I could read) and carefully
    studied the photographs:
    the inside of a volcano,
    black, and full of ashes;
    then it was spilling over
    in rivulets of fire.
    Osa and Martin Johnson
    dressed in riding breeches,
    laced boots, and pith helmets.
    A dead man slung on a pole
    --"Long Pig," the caption said.
    Babies with pointed heads
    wound round and round with string;
    black, naked women with necks
    wound round and round with wire
    like the necks of light bulbs.
    Their breasts were horrifying.
    I read it right straight through.
    I was too shy to stop.
    And then I looked at the cover:
    the yellow margins, the date.
    Suddenly, from inside,
    came an oh! of pain
    --Aunt Consuelo's voice--
    not very loud or long.
    I wasn't at all surprised;
    even then I knew she was
    a foolish, timid woman.
    I might have been embarrassed,
    but wasn't. What took me
    completely by surprise
    was that it was me:
    my voice, in my mouth.
    Without thinking at all
    I was my foolish aunt,
    I--we--were falling, falling,
    our eyes glued to the cover
    of the National Geographic,
    February, 1918.

    I said to myself: three days
    and you'll be seven years old.
    I was saying it to stop
    the sensation of falling off
    the round, turning world.
    into cold, blue-black space.
    But I felt: you are an I,
    you are an Elizabeth,
    you are one of them.
    Why should you be one, too?
    I scarcely dared to look
    to see what it was I was.
    I gave a sidelong glance
    --I couldn't look any higher--
    at shadowy gray knees,
    trousers and skirts and boots
    and different pairs of hands
    lying under the lamps.
    I knew that nothing stranger
    had ever happened, that nothing
    stranger could ever happen.

    Why should I be my aunt,
    or me, or anyone?
    What similarities--
    boots, hands, the family voice
    I felt in my throat, or even
    the National Geographic
    and those awful hanging breasts--
    held us all together
    or made us all just one?
    How--I didn't know any
    word for it--how "unlikely". . .
    How had I come to be here,
    like them, and overhear
    a cry of pain that could have
    got loud and worse but hadn't?

    The waiting room was bright
    and too hot. It was sliding
    beneath a big black wave,
    another, and another.

    Then I was back in it.
    The War was on. Outside,
    in Worcester, Massachusetts,
    were night and slush and cold,
    and it was still the fifth
    of February, 1918.

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21 - 30 of 30 Poems

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