Richard Wilbur’s poems are known for their elegance, clarity, and finely crafted formal style. A master of rhyme and meter, Wilbur often used traditional poetic structures to explore modern human experiences. His work reflects a deep appreciation for beauty—whether in nature, everyday life, or the small, often unnoticed details that shape our world. Rather than confronting darkness directly, Wilbur frequently sought harmony, showing how grace and order can emerge even in unsettling times.
A central feature of his poetry is balance: between intellect and emotion, complexity and simplicity, sorrow and hope. His imagery is vivid yet controlled, offering readers a sense of calm precision. In poems like “Love Calls Us to the Things of This World”, he captures the tension between spiritual longing and earthly experience with remarkable sensitivity. Humor and playfulness also appear in his work, revealing his ability to find delight in language and imagination.
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| Richard wilbur |
Richard Wilbur’s poetry stands out for its craftsmanship, optimism, and refined philosophical depth. He believed that poetry should uplift, clarify, and celebrate the richness of being alive. As a result, his work continues to resonate with readers who value beauty, order, and the enduring power of thoughtful expression.
The House
Sometimes, on waking, she would close her eyes
For a last look at that white house she knew
In sleep alone, and held no title to,
And had not entered yet, for all her sighs.
What did she tell me of that house of hers?
White gatepost; terrace; fanlight of the door;
A widow's walk above the bouldered shore;
Salt winds that ruffle the surrounding firs.
Is she now there, wherever there may be?
Only a foolish man would hope to find
That haven fashioned by her dreaming mind.
Night after night, my love, I put to sea.
Advice to a Prophet
When you come, as you soon must, to the streets of our city,
Mad-eyed from stating the obvious,
Not proclaiming our fall but begging us
In God’s name to have self-pity,
Spare us all word of the weapons, their force and range,
The long numbers that rocket the mind;
Our slow, unreckoning hearts will be left behind,
Unable to fear what is too strange.
Nor shall you scare us with talk of the death of the race.
How should we dream of this place without us?—
The sun mere fire, the leaves untroubled about us,
A stone look on the stone’s face?
Speak of the world’s own change. Though we cannot conceive
Of an undreamt thing, we know to our cost
How the dreamt cloud crumbles, the vines are blackened by frost,
How the view alters. We could believe,
If you told us so, that the white-tailed deer will slip
Into perfect shade, grown perfectly shy,
The lark avoid the reaches of our eye,
The jack-pine lose its knuckled grip
On the cold ledge, and every torrent burn
As Xanthus once, its gliding trout
Stunned in a twinkling. What should we be without
The dolphin’s arc, the dove’s return,
These things in which we have seen ourselves and spoken?
Ask us, prophet, how we shall call
Our natures forth when that live tongue is all
Dispelled, that glass obscured or broken
In which we have said the rose of our love and the clean
Horse of our courage, in which beheld
The singing locust of the soul unshelled,
And all we mean or wish to mean.
Ask us, ask us whether with the worldless rose
Our hearts shall fail us; come demanding
Whether there shall be lofty or long standing
When the bronze annals of the oak-tree close.
After the Last Bulletins
After the last bulletins the windows darken
And the whole city founders readily and deep,
Sliding on all its pillows
To the thronged Atlantis of personal sleep,
And the wind rises. The wind rises and bowls
The day’s litter of news in the alleys. Trash
Tears itself on the railings,
Soars and falls with a soft crash,
Tumbles and soars again. Unruly flights
Scamper the park, and taking a statue for dead
Strike at the positive eyes,
Batter and flap the stolid head
And scratch the noble name. In empty lots
Our journals spiral in a fierce noyade
Of all we thought to think,
Or caught in corners cramp and wad
And twist our words. And some from gutters flail
Their tatters at the tired patrolman’s feet,
Like all that fisted snow
That cried beside his long retreat
Damn you! damn you! to the emperor’s horse’s heels.
Oh none too soon through the air white and dry
Will the clear announcer’s voice
Beat like a dove, and you and I
From the heart’s anarch and responsible town
Return by subway-mouth to life again,
Bearing the morning papers,
And cross the park where saintlike men,
White and absorbed, with stick and bag remove
The litter of the night, and footsteps rouse
With confident morning sound
The songbirds in the public boughs.
A Barred Owl
The warping night air having brought the boom
Of an owl’s voice into her darkened room,
We tell the wakened child that all she heard
Was an odd question from a forest bird,
Asking of us, if rightly listened to,
“Who cooks for you?” and then “Who cooks for you?”
Words, which can make our terrors bravely clear,
Can also thus domesticate a fear,
And send a small child back to sleep at night
Not listening for the sound of stealthy flight
Or dreaming of some small thing in a claw
Borne up to some dark branch and eaten raw.
The Beautiful Changes
One wading a Fall meadow finds on all sides
The Queen Anne’s Lace lying like lilies
On water; it glides
So from the walker, it turns
Dry grass to a lake, as the slightest shade of you
Valleys my mind in fabulous blue Lucernes.
The beautiful changes as a forest is changed
By a chameleon’s tuning his skin to it;
As a mantis, arranged
On a green leaf, grows
Into it, makes the leaf leafier, and proves
Any greenness is deeper than anyone knows.
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.
For C.
After the clash of elevator gates
And the long sinking, she emerges where,
A slight thing in the morning’s crosstown glare,
She looks up toward the window where he waits,
Then in a fleeting taxi joins the rest
Of the huge traffic bound forever west.
On such grand scale do lovers say good-bye—
Even this other pair whose high romance
Had only the duration of a dance,
And who, now taking leave with stricken eye,
See each in each a whole new life forgone.
For them, above the darkling clubhouse lawn,
Bright Perseids flash and crumble; while for these
Who part now on the dock, weighed down by grief
And baggage, yet with something like relief,
It takes three thousand miles of knitting seas
To cancel out their crossing, and unmake
The amorous rough and tumble of their wake.
We are denied, my love, their fine tristesse
And bittersweet regrets, and cannot share
The frequent vistas of their large despair,
Where love and all are swept to nothingness;
Still, there’s a certain scope in that long love
Which constant spirits are the keepers of,
And which, though taken to be tame and staid,
Is a wild sostenuto of the heart,
A passion joined to courtesy and art
Which has the quality of something made,
Like a good fiddle, like the rose’s scent,
Like a rose window or the firmament.
