Famous Nature Poems - Page 3

41 - 57 of 57 Poems

  1. 41. A Minor Bird

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    When a person is in a depressed mood even the beautiful song of a bird is grating. Of course, after that moment of irritation, one realizes the problem is not with the bird but with you.

    I have wished a bird would fly away,
    And not sing by my house all day;

    Have clapped my hands at him from the door
    When it seemed as if I could bear no more.

    The fault must partly have been in me.
    The bird was not to blame for his key.

    And of course there must be something wrong
    In wanting to silence any song.

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  3. 42. A Light Exists In Spring

    Famous Poem

    Emily Dickinson was a famous American poet who lived during the 1800s. In addition to writing, she also studied botany, which could have been an influence in her poems about nature. This poem is about the light that illuminates all that's around it during spring. While this poem is about nature, it has a strong religious undertone, showing there are things science is unable to fully explain.

    A Light exists in Spring
    Not present on the Year
    At any other period --
    When March is scarcely here

    A Color stands abroad
    On Solitary Fields
    That Science cannot overtake
    But Human Nature feels.

    It waits upon the Lawn,
    It shows the furthest Tree
    Upon the furthest Slope you know
    It almost speaks to you.

    Then as Horizons step
    Or Noons report away
    Without the Formula of sound
    It passes and we stay --

    A quality of loss
    Affecting our Content
    As Trade had suddenly encroached
    Upon a Sacrament.

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    The poem depicts supremacy of nature. Nature is beyond natural laws. It's the underlying truth that nature poets communicate to us through their writings.

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  5. 43. Desert Places

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    Robert Frost (1874-1963) spent many years living in New England, and a lot of his poetry was inspired by the landscape around him. In “Desert Places,” he uses the emptiness created by a snowstorm and the darkness of night to compare to depression and emotional turmoil. The loneliness of nature is nothing compared to the loneliness one experiences from their own darkness and isolation. Robert Frost had his own bouts with depression.

    Snow falling and night falling fast, oh, fast
    In a field I looked into going past,
    And the ground almost covered smooth in snow,
    But a few weeds and stubble showing last.

    The woods around it have it--it is theirs.
    All animals are smothered in their lairs.
    I am too absent-spirited to count;
    The loneliness includes me unawares.

    And lonely as it is that loneliness
    Will be more lonely ere it will be less--
    A blanker whiteness of benighted snow
    With no expression, nothing to express.

    They cannot scare me with their empty spaces
    Between stars--on stars where no human race is.
    I have it in me so much nearer home
    To scare myself with my own desert places.

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  6. 44. A Bird Came Down The Walk

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    A poem about birds from Emily Dickinson. Considered by many to be one of the best American Poets. What about this poem makes it a classic?

    A bird came down the walk:
    He did not know I saw;
    He bit an angle-worm in halves
    And ate the fellow, raw.

    And then he drank a dew
    From a convenient grass,
    And then hopped sidewise to the wall
    To let a beetle pass.

    He glanced with rapid eyes
    That hurried all abroad,--
    They looked like frightened beads, I thought;
    He stirred his velvet head

    Like one in danger; cautious,
    I offered him a crumb,
    And he unrolled his feathers
    And rowed him softer home

    Than oars divide the ocean,
    Too silver for a seam,
    Or butterflies, off banks of noon,
    Leap, plashless, as they swim.

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    I take walks daily with my dog to visit and hang out with friends. Fall is the prettiest show-off with her colorful jewels! The birds and squirrels play hide and seek within and keep me...

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  7. 45. No Songs In Winter

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    Everything changes and slows down in winter. The world seems empty, and time moves slowly. For many, it can be a difficult season to get through, but one day, everything will return, and things will be restored.

    The sky is gray as gray may be,
    There is no bird upon the bough,
    There is no leaf on vine or tree.

    In the Neponset marshes now
    Willow-stems, rosy in the wind,
    Shiver with hidden sense of snow.

    So too 't is winter in my mind,
    No light-winged fancy comes and stays:
    A season churlish and unkind.

    Slow creep the hours, slow creep the days,
    The black ink crusts upon the pen--
    Just wait till bluebirds, wrens, and jays
    And golden orioles come again!

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  8. 46. The Mountain

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    "The Mountain" by Emily Dickinson depicts the majestic presence of a mountain on the plain. The mountain is a metaphor for a timeless grandfather figure, firmly seated in its eternal chair, and possessing a comprehensive awareness that extends everywhere. The poem further illustrates the mountain's significance by likening it to a revered figure, with the seasons gathering around it like children around a father. The mountain is depicted as a revered ancestor, the originator of each new day's dawn.

    The mountain sat upon the plain
    In his eternal chair,
    His observation omnifold,
    His inquest everywhere.

    The seasons prayed around his knees,
    Like children round a sire:
    Grandfather of the days is he,
    Of dawn the ancestor.

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  9. 47. Birches

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    "Birches" was first published in the Atlantic Monthly in 1915. The poem about the Birch tree with branches weighed heavy with ice and snow is one of Frost's most famous poems.

    When I see birches bend to left and right
    Across the lines of straighter darker trees,
    I like to think some boy's been swinging them.
    But swinging doesn't bend them down to stay
    As ice-storms do. Often you must have seen them
    Loaded with ice a sunny winter morning
    After a rain. They click upon themselves
    As the breeze rises, and turn many-colored
    As the stir cracks and crazes their enamel.
    Soon the sun's warmth makes them shed crystal shells
    Shattering and avalanching on the snow-crust--
    Such heaps of broken glass to sweep away
    You'd think the inner dome of heaven had fallen.
    They are dragged to the withered bracken by the load,
    And they seem not to break; though once they are bowed
    So low for long, they never right themselves:
    You may see their trunks arching in the woods
    Years afterwards, trailing their leaves on the ground
    Like girls on hands and knees that throw their hair
    Before them over their heads to dry in the sun.
    But I was going to say when Truth broke in
    With all her matter-of-fact about the ice-storm
    I should prefer to have some boy bend them
    As he went out and in to fetch the cows--
    Some boy too far from town to learn baseball,
    Whose only play was what he found himself,
    Summer or winter, and could play alone.
    One by one he subdued his father's trees
    By riding them down over and over again
    Until he took the stiffness out of them,
    And not one but hung limp, not one was left
    For him to conquer. He learned all there was
    To learn about not launching out too soon
    And so not carrying the tree away
    Clear to the ground. He always kept his poise
    To the top branches, climbing carefully
    With the same pains you use to fill a cup
    Up to the brim, and even above the brim.
    Then he flung outward, feet first, with a swish,
    Kicking his way down through the air to the ground.
    So was I once myself a swinger of birches.
    And so I dream of going back to be.
    It's when I'm weary of considerations,
    And life is too much like a pathless wood
    Where your face burns and tickles with the cobwebs
    Broken across it, and one eye is weeping
    From a twig's having lashed across it open.
    I'd like to get away from earth awhile
    And then come back to it and begin over.
    May no fate willfully misunderstand me
    And half grant what I wish and snatch me away
    Not to return. Earth's the right place for love:
    I don't know where it's likely to go better.
    I'd like to go by climbing a birch tree,
    And climb black branches up a snow-white trunk
    Toward heaven, till the tree could bear no more,
    But dipped its top and set me down again.
    That would be good both going and coming back.
    One could do worse than be a swinger of birches.

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  10. 48. Spring

    Famous Poem

    Edna St. Vincent Millay (1892-1950), was born in Rockland, Maine on February 22. During the 1920's she lived in Greenwich Village, New York City, and wrote for Vanity Fair under the pseudonym Nancy Boyd.

    To what purpose, April, do you return again?
    Beauty is not enough.
    You can no longer quiet me with the redness
    Of little leaves opening stickily.
    I know what I know.
    The sun is hot on my neck as I observe
    The spikes of the crocus.
    The smell of the earth is good.
    It is apparent that there is no death.
    But what does that signify?
    Not only under ground are the brains of men
    Eaten by maggots.
    Life in itself
    Is nothing,
    An empty cup, a flight of uncarpeted stairs.
    It is not enough that yearly, down this hill,
    April
    Comes like an idiot, babbling and strewing flowers

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  11. 49. Pray To What Earth

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    Henry David Thoreau was an American author, poet, and historian who lived from 1817-1862. Some of his works are about living simply among the surroundings of nature, which can be felt in this piece. Thoreau personifies the moon in this poem by giving “her” human characteristics.

    Pray to what earth does this sweet cold belong,
    Which asks no duties and no conscience?
    The moon goes up by leaps, her cheerful path
    In some far summer stratum of the sky,
    While stars with their cold shine bedot her way.
    The fields gleam mildly back upon the sky,
    And far and near upon the leafless shrubs
    The snow dust still emits a silver light.
    Under the hedge, where drift banks are their screen,
    The titmice now pursue their downy dreams,
    As often in the sweltering summer nights
    The bee doth drop asleep in the flower cup,
    When evening overtakes him with his load.
    By the brooksides, in the still, genial night,
    The more adventurous wanderer may hear
    The crystals shoot and form, and winter slow
    Increase his rule by gentlest summer means

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  12. 50. A Narrow Fellow In The Grass

    Famous Poem

    When the poem was published in the Springfield Daily Republican (Feb. 14, 1866), it was entitled "The Snake."

    A narrow fellow in the grass
    Occasionally rides;
    You may have met him,--did you not,
    His notice sudden is.

    The grass divides as with a comb,
    A spotted shaft is seen;
    And then it closes at your feet
    And opens further on.

    He likes a boggy acre,
    A floor too cool for corn.
    Yet when a child, and barefoot,
    I more than once, at morn,

    Have passed, I thought, a whip-lash
    Unbraiding in the sun,--
    When, stooping to secure it,
    It wrinkled, and was gone.

    Several of nature's people
    I know, and they know me;
    I feel for them a transport
    Of cordiality;

    But never met this fellow,
    Attended or alone,
    Without a tighter breathing,
    And zero at the bone.

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  13. 51. Dear March - Come In -

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    Dear March - Come In - by Emily Dickinson is a welcoming ode to the arrival of the month of March. In this brief yet evocative poem, Dickinson personifies March as a cherished guest, inviting it to enter warmly. Through its simple language and gentle tone, the poem captures the anticipation and hope associated with the transition from winter to spring. Dickinson's imagery evokes the awakening of nature and the promise of new beginnings as March heralds the arrival of warmer weather and the renewal of life.

    Dear March—Come in—
    How glad I am—
    I hoped for you before—
    Put down your Hat—
    You must have walked—
    How out of Breath you are—
    Dear March, how are you, and the Rest—
    Did you leave Nature well—
    Oh March, Come right upstairs with me—
    I have so much to tell—

    I got your Letter, and the Birds—
    The Maples never knew that you were coming—
    I declare - how Red their Faces grew—
    But March, forgive me—
    And all those Hills you left for me to Hue—
    There was no Purple suitable—
    You took it all with you—

    Who knocks? That April—
    Lock the Door—
    I will not be pursued—
    He stayed away a Year to call
    When I am occupied—
    But trifles look so trivial
    As soon as you have come

    That blame is just as dear as Praise
    And Praise as mere as Blame—

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  14. 52. The Fish

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    This famous narrative poem transforms an ordinary moment into a gripping story about the moment when the Hunter meets the Hunted. The fisherwoman's catch of a tremendous fish takes an unexpected diversion when she takes the opportunity to observe it at close range. The life story of The Fish as told by its battle scars and beautiful fishiness gives the encounter a personal side and result in things taking an unexpected turn.

    I caught a tremendous fish
    and held him beside the boat
    half out of water, with my hook
    fast in a corner of his mouth.
    He didn’t fight.
    He hadn’t fought at all.
    He hung a grunting weight,
    battered and venerable
    and homely. Here and there
    his brown skin hung in strips
    like ancient wallpaper,
    and its pattern of darker brown
    was like wallpaper:
    shapes like full-blown roses
    stained and lost through age.
    He was speckled with barnacles,
    fine rosettes of lime,
    and infested
    with tiny white sea-lice,
    and underneath two or three
    rags of green weed hung down.
    While his gills were breathing in
    the terrible oxygen
    —the frightening gills,
    fresh and crisp with blood,
    that can cut so badly—
    I thought of the coarse white flesh
    packed in like feathers,
    the big bones and the little bones,
    the dramatic reds and blacks
    of his shiny entrails,
    and the pink swim-bladder
    like a big peony.
    I looked into his eyes
    which were far larger than mine
    but shallower, and yellowed,
    the irises backed and packed
    with tarnished tinfoil
    seen through the lenses
    of old scratched isinglass.
    They shifted a little, but not
    to return my stare.
    —It was more like the tipping
    of an object toward the light.
    I admired his sullen face,
    the mechanism of his jaw,
    and then I saw
    that from his lower lip
    —if you could call it a lip—
    grim, wet, and weaponlike,
    hung five old pieces of fish-line,
    or four and a wire leader
    with the swivel still attached,
    with all their five big hooks
    grown firmly in his mouth.
    A green line, frayed at the end
    where he broke it, two heavier lines,
    and a fine black thread
    still crimped from the strain and snap
    when it broke and he got away.
    Like medals with their ribbons
    frayed and wavering,
    a five-haired beard of wisdom
    trailing from his aching jaw.
    I stared and stared
    and victory filled up
    the little rented boat,
    from the pool of bilge
    where oil had spread a rainbow
    around the rusted engine
    to the bailer rusted orange,
    the sun-cracked thwarts,
    the oarlocks on their strings,
    the gunnels—until everything
    was rainbow, rainbow, rainbow!
    And I let the fish go.

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  15. 53. A Winter Blue Jay

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    Sara Teasdale’s (1884-1933) “A Winter Blue Jay” was published in the book Rivers to the Sea in 1915. This poem features two lovers enjoying a beautiful winter day. They think nothing could be better than the sights they’ve already experienced, but then they spot a bluejay. Just as their day is filled with more beauty, so is their love as time moves forward. Sara Teasdale married Ernst Filsinger. Unfortunately, he traveled a lot for work, leaving her lonely, and their marriage ended in 1929.

    Crisply the bright snow whispered,
    Crunching beneath our feet;
    Behind us as we walked along the parkway,
    Our shadows danced,
    Fantastic shapes in vivid blue.
    Across the lake the skaters
    Flew to and fro,
    With sharp turns weaving
    A frail invisible net.
    In ecstasy the earth
    Drank the silver sunlight;
    In ecstasy the skaters
    Drank the wine of speed;
    In ecstasy we laughed
    Drinking the wine of love.
    Had not the music of our joy
    Sounded its highest note?
    But no,
    For suddenly, with lifted eyes you said,
    “Oh look!”
    There, on the black bough of a snow flecked maple,
    Fearless and gay as our love,
    A bluejay cocked his crest!
    Oh who can tell the range of joy
    Or set the bounds of beauty?

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  16. 54. Who Has Seen The Wind?

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    Until the age of nine, Christina Rossetti (1830-1894) spent time at her grandfather’s cottage in Holmer Green. In 1839, he sold the property and moved to London. During these visits to Holmer Green, Christina had the freedom to wander around the property and fall in love with nature. The natural world seeped into the poetry she went on to write.

    Who has seen the wind?
    Neither I nor you:
    But when the leaves hang trembling,
    The wind is passing through.

    Who has seen the wind?
    Neither you nor I:
    But when the trees bow down their heads,
    The wind is passing by.

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  17. 55. There Will Come Soft Rains (War Time)

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    The Sedition Act of 1918 made it a crime to express any dissenting views about the U.S. involvements in World War I. This forced writers like Sara Teasdale to express their opposition to the war in more subtle ways. The poem suggests that even if humans were to be destroyed by war, the earth would continue to exist and even flourish without us. The personification of Spring as being indifferent to the fate of humanity emphasizes that the meaning of our existence is something that we create for ourselves, and that nature is not concerned with us. The poem is a powerful statement against the wasteful nature of war, and a reminder that we must strive to protect the natural world that sustains us.

    There will come soft rains and the smell of the ground,
    And swallows circling with their shimmering sound;

    And frogs in the pools singing at night,
    And wild plum-trees in tremulous white;

    Robins will wear their feathery fire
    Whistling their whims on a low fence-wire;

    And not one will know of the war, not one
    Will care at last when it is done.

    Not one would mind, neither bird nor tree
    If mankind perished utterly;

    And Spring herself, when she woke at dawn,
    Would scarcely know that we were gone.

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  18. 56. Memory

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    Life is filled with many moments, and it’s impossible to remember all of them. However, certain things in life will always stick with us. Sometimes it’s a small and seemingly insignificant moment, but something about it strikes a chord with us, making it impossible to forget. Often, we remember specific sights and smells. Thomas Bailey Aldrich (1836-1907) was a poet, novelist, traveler, and editor. His book The Story of a Bad Boy (1870) was based on his own childhood, and it impacted other writers. Mark Twain went on to write a similar story, Tom Sawyer, that was published five years later.

    My mind lets go a thousand things
    Like dates of wars and deaths of kings,
    And yet recalls the very hour--
    'T was noon by yonder village tower,
    And on the last blue noon in May--
    The wind came briskly up this way,
    Crisping the brook beside the road;
    Then, pausing here, set down its load
    Of pine-scents, and shook listlessly
    Two petals from that wild-rose tree.

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  19. 57. The Humblebee

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    Ralph Waldo Emerson was an American essayist, poet, and lecturer who lived from 1803-1882. Emerson believed that nature has knowledge for man to learn, but one must be attentive and willing to study the messages it presents. Emerson believed in the perfection of the natural world because it was not created by humans. This poem touches on the greatness of nature. The bee is seen as a symbol of innocence, and bumblebees used to be known as "humble bees." They are so intent on getting nectar that it's possible to pet them.

    Burly dozing humblebee!
    Where thou art is clime for me.
    Let them sail for Porto Rique,
    Far-off heats through seas to seek,
    I will follow thee alone,
    Thou animated torrid zone!
    Zig-zag steerer, desert-cheerer,
    Let me chase thy waving lines,
    Keep me nearer, me thy hearer,
    Singing over shrubs and vines.

    Insect lover of the sun,
    Joy of thy dominion!
    Sailor of the atmosphere,
    Swimmer through the waves of air,
    Voyager of light and noon,
    Epicurean of June,
    Wait I prithee, till I come
    Within ear-shot of thy hum,--
    All without is martyrdom.

    When the south wind, in May days,
    With a net of shining haze,
    Silvers the horizon wall,
    And, with softness touching all,
    Tints the human countenance
    With a color of romance,
    And, infusing subtle heats,
    Turns the sod to violets,
    Thou in sunny solitudes,
    Rover of the underwoods,
    The green silence dost displace,
    With thy mellow breezy bass.

    Hot midsummer's petted crone,
    Sweet to me thy drowsy tune,
    Telling of countless sunny hours,
    Long days, and solid banks of flowers,
    Of gulfs of sweetness without bound
    In Indian wildernesses found,
    Of Syrian peace, immortal leisure,
    Firmest cheer and bird-like pleasure.

    Aught unsavory or unclean,
    Hath my insect never seen,
    But violets and bilberry bells,
    Maple sap and daffodels,
    Grass with green flag half-mast high,
    Succory to match the sky,
    Columbine with horn of honey,
    Scented fern, and agrimony,
    Clover, catch fly, adders-tongue,
    And brier-roses dwelt among;
    All beside was unknown waste,
    All was picture as he passed.

    Wiser far than human seer,
    Yellow-breeched philosopher!
    Seeing only what is fair,
    Sipping only what is sweet,
    Thou dost mock at fate and care,
    Leave the chaff and take the wheat,
    When the fierce north-western blast
    Cools sea and land so far and fast,
    Thou already slumberest deep,--
    Woe and want thou canst out-sleep,--
    Want and woe which torture us,
    Thy sleep makes ridiculous

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