Analysis of Voyages

Harold Hart Crane 1899 (Garrettsville, Ohio) – 1932 (Gulf of Mexico)



Above the fresh ruffles of the surf
Bright striped urchins flay each other with sand.   
They have contrived a conquest for shell shucks,   
And their fingers crumble fragments of baked weed   
Gaily digging and scattering.

And in answer to their treble interjections   
The sun beats lightning on the waves,   
The waves fold thunder on the sand;
And could they hear me I would tell them:

O brilliant kids, frisk with your dog,   
Fondle your shells and sticks, bleached
By time and the elements; but there is a line   
You must not cross nor ever trust beyond it   
Spry cordage of your bodies to caresses   
Too lichen-faithful from too wide a breast.   
The bottom of the sea is cruel.

—And yet this great wink of eternity,
Of rimless floods, unfettered leewardings,   
Samite sheeted and processioned where   
Her undinal vast belly moonward bends,   
Laughing the wrapt inflections of our love;

Take this Sea, whose diapason knells   
On scrolls of silver snowy sentences,
The sceptred terror of whose sessions rends   
As her demeanors motion well or ill,   
All but the pieties of lovers’ hands.

And onward, as bells off San Salvador   
Salute the crocus lustres of the stars,
In these poinsettia meadows of her tides,—
Adagios of islands, O my Prodigal,
Complete the dark confessions her veins spell.

Mark how her turning shoulders wind the hours,   
And hasten while her penniless rich palms   
Pass superscription of bent foam and wave,—
Hasten, while they are true,—sleep, death, desire,   
Close round one instant in one floating flower.

Bind us in time, O Seasons clear, and awe.   
O minstrel galleons of Carib fire,
Bequeath us to no earthly shore until
Is answered in the vortex of our grave
The seal’s wide spindrift gaze toward paradise.

Infinite consanguinity it bears—
This tendered theme of you that light   
Retrieves from sea plains where the sky   
Resigns a breast that every wave enthrones;   
While ribboned water lanes I wind
Are laved and scattered with no stroke   
Wide from your side, whereto this hour   
The sea lifts, also, reliquary hands.

And so, admitted through black swollen gates   
That must arrest all distance otherwise,—
Past whirling pillars and lithe pediments,   
Light wrestling there incessantly with light,   
Star kissing star through wave on wave unto   
Your body rocking!
                            and where death, if shed,   
Presumes no carnage, but this single change,—
Upon the steep floor flung from dawn to dawn   
The silken skilled transmemberment of song;

Permit me voyage, love, into your hands ...   

Whose counted smile of hours and days, suppose   
I know as spectrum of the sea and pledge   
Vastly now parting gulf on gulf of wings
Whose circles bridge, I know, (from palms to the severe   
Chilled albatross’s white immutability)   
No stream of greater love advancing now   
Than, singing, this mortality alone   
Through clay aflow immortally to you.

All fragrance irrefragably, and claim   
Madly meeting logically in this hour   
And region that is ours to wreathe again,   
Portending eyes and lips and making told   
The chancel port and portion of our June—

Shall they not stem and close in our own steps   
Bright staves of flowers and quills today as I   
Must first be lost in fatal tides to tell?

In signature of the incarnate word
The harbor shoulders to resign in mingling
Mutual blood, transpiring as foreknown
And widening noon within your breast for gathering   
All bright insinuations that my years have caught   
For islands where must lead inviolably
Blue latitudes and levels of your eyes,—

In this expectant, still exclaim receive   
The secret oar and petals of all love.

Meticulous, past midnight in clear rime,   
Infrangible and lonely, smooth as though cast   
Together in one merciless white blade—
The bay estuaries fleck the hard sky limits.

—As if too brittle or too clear to touch!   
The cables of our sleep so swiftly filed,
Already hang, shred ends from remembered stars.   
One frozen trackless smile ... What words   
Can strangle this deaf moonlight? For we

Are overtaken. Now no cry, no sword   
Can fasten or deflect this tidal wedge,
Slow tyranny of moonlight, moonlight loved   
And changed ... “There’s

Nothing like this in the world,” you say,   
Knowing I cannot touch your hand


Scheme XABXC XXAD XXEXXXF GBXXH BXBIJ XKXFL XXMNN XNIMX XOPBXXNJ XQBORCXXXX J XSXXAXXR XNXXX XPL XCECXFQ XH DXXX XXKXG XSXB XA
Poetic Form
Metre 010110101 1110111011 1101010111 01101010111 10100100 00101110010 01110101 01110101 011111111 11011111 1011011 110010011101 11111101011 11011101010 1101011101 010101110 0111110100 1110101 11011 0111011 10010101101 111111 1111010100 011011101 1001010111 1101001101 010111110 010101101 0101001101 111011100 0101010011 11010101010 0101010011 1111101 10111111010 11110011010 1101110101 1101001110 0111110101 11000101101 011110110 100111 11011111 01111101 0101110011 1110111 11010111 11111110 0111011 0101011101 110111010 11010011 1101010011 1101111110 11010 01111 0111011101 0101111111 0101111 0111010111 11011100101 1111010101 1011011111 110111111001 1111 1111010101 1101010001 111111 110101 10101000110 01011101101 0101010101 0110101101 11110101011 11110010111 1111010111 0100100101 010101010100 1001010011 0100101111100 11001011111 1101111 110010111 0101010101 0101010111 010011011 10101111 0100110011 01100101110 1111011111 01011011101 01011110101 1101111 11011111 110011111 1101011101 11001111 011 101100111 10110111
Closest metre Iambic pentameter
Characters 4,242
Words 703
Sentences 23
Stanzas 20
Stanza Lengths 5, 4, 7, 5, 5, 5, 5, 5, 8, 10, 1, 8, 5, 3, 7, 2, 4, 5, 4, 2
Lines Amount 100
Letters per line (avg) 33
Words per line (avg) 7
Letters per stanza (avg) 165
Words per stanza (avg) 35
Font size:
 

Submitted on May 13, 2011

Modified on May 02, 2023

3:31 min read
118

Harold Hart Crane

Harold Hart Crane was an American poet. Finding both inspiration and provocation in the poetry of T. S. Eliot, Crane wrote modernist poetry that was difficult, highly stylized, and ambitious in its scope. In his most ambitious work, The Bridge, Crane sought to write an epic poem, in the vein of The Waste Land, that expressed a more optimistic view of modern, urban culture than the one that he found in Eliot's work. In the years following his suicide at the age of 32, Crane has been hailed by playwrights, poets, and literary critics alike (including Robert Lowell, Derek Walcott, Tennessee Williams, and Harold Bloom), as being one of the most influential poets of his generation.  more…

All Harold Hart Crane poems | Harold Hart Crane Books

1 fan

Discuss this Harold Hart Crane poem analysis with the community:

0 Comments

    Citation

    Use the citation below to add this poem analysis to your bibliography:

    Style:MLAChicagoAPA

    "Voyages" Poetry.com. STANDS4 LLC, 2024. Web. 7 May 2024. <https://www.poetry.com/poem-analysis/16837/voyages>.

    Become a member!

    Join our community of poets and poetry lovers to share your work and offer feedback and encouragement to writers all over the world!

    May 2024

    Poetry Contest

    Join our monthly contest for an opportunity to win cash prizes and attain global acclaim for your talent.
    24
    days
    17
    hours
    4
    minutes

    Special Program

    Earn Rewards!

    Unlock exciting rewards such as a free mug and free contest pass by commenting on fellow members' poems today!

    Browse Poetry.com

    Quiz

    Are you a poetry master?

    »
    From which London landmark did Wordsworth celebrate the view in his poem beginning: "Earth has not any thing to show more fair..."
    A Hampstead Heath
    B Waterloo Sunset
    C The Tower of London
    D Westminster Bridge