Theodora Goss: Poems

The Princess and the Frog
by Theodora Goss

I threw the ball into the water.
The frog came out and followed after,
bringing me the golden ball —
which I did not want at all, at all.

Princess, he said, let me eat at your table.
I fed him as well as I was able.
Princess, let me sleep on your pillow.
He crept as close as I would allow.

He said, a witch enchanted me.
I’m not what I seem, you see,
but a prince in the form of a lowly frog,
forced to live in that wretched bog

where I found and retrieved the golden ball
you had deliberately let fall.
Why did you discard your treasure?
I said, because it gave me no pleasure.

The heavy scepter and orb of state
hurt my arms with their golden weight.
The scepter still lies within the pool,
among the weeds. I don’t want to rule

this country or wage the endless war
my father started. I want more
than political and diplomatic lies.
He blinked his iridescent eyes.

Kiss me, he said. And I did, despite
my misgivings. It felt appropriate,
almost as though I could hear my fate
knocking on the castle gate.

Then he turned into a prince, and I
into a frog, instantaneously.
He took me down to the pool again,
away from the troubling world of men.

There I swim in the cool green water,
and the only things that seem to matter
are the sun as it filters into the green
or the patter of a summer rain

on the leaves of the floating water lilies.
The flashing blue of dragonflies,
the stork that is my nemesis.
Who would have thought a single kiss

could release me from the strife
attendant on a human life
and bring me to the cool green heart
of the world, where all enchantments start?

Where life is still a fairy tale,
and I’m the princess of the pool.

(The image is The Princess and the Frog by William Robert Symonds.)

Spring Song
by Theodora Goss

Slowly the willow has turned to silver,
slowly, slowly, over the town,
a shadow has crept — the hint of the season,
the green-gauze hem of Spring’s wild gown.

Slowly the river begins to murmur,
slowly I measure the lengthening days,
and the birds return and from high in the budding
trees begin their virelays.

Grasses that cover the graveyard alleys
regain their verdure and windily nod,
and Spring herself sits upon the tombstones,
smiling a smile that is sweet and mad.

Her gown spreads away when the wind is blowing,
a green-gauze net that rides on the air,
and slowly the willow has turned to silver,
and neither she nor I can care.

(The painting is Dream by Joan Brull. The poem is from my collection Songs for Ophelia.)

Binnorie
by Theodora Goss

What is it about being made into a harp,
your bones as smooth as poplar, about being strung
with your own hair, golden or black or brown,
that presents such an appropriate allegory
for being a woman, and therefore an instrument
of fathers, husbands, or sons? Or is it rather
an allegory for being a poet, which is
a different thing altogether, I like to think,
although poetry can command you like a father,
berate you like a husband, and abandon
you like any number of sons?

(The painting is The Charmer by John William Waterhouse. This poem was published in my collection Songs for Ophelia.)

The Ballet
by Theodora Goss

Sometimes I think that life is a ballet
in which I am performing for the first time
without rehearsals or any advanced notice
of what I’m supposed to be dancing. No one told me:

Am I a village maid, a sylph, Giselle?
A consumptive courtesan or Juliet?
A snowflake that, earlier in the performance,
played the part of a soldier or a mouse?

Am I a soloist? An understudy
brought out one night when the prima ballerina
injured her ankle? Or something more abstract:
The color green? A series of triangles?

Sometimes I wish they’d let me see the program,
but that is for the audience, not performers.
So I must do the best I can, en pointe,
to understand whatever part I’m playing:

Clara beneath the Christmas tree, a swan,
Sleeping Beauty rescued by the Corsair.
Not knowing who is watching in the darkness,
or where that polite applause is coming from . . .

(The painting is L’Etoile (La Danseuse Sur La Scene) by Edgar Degas.)

Question and Answer
by Theodora Goss

When I’m not at all sure why I’m doing what I do,
I ask my Lady, and she says, because I told you to.

Just as I tell the crocuses to push up out of the ground,
or the tulips to open their petals, or the sun
to come out from behind a cloud and shine on the water
so light dances on the waves — look, can you see them?

Just as I tell the oak trees to grow, or the snow
to melt, or the birds to return after winter.
Like them, you sing the song that you’ve been given.

You’re doing what I told you: let that be enough,
let that be your answer. Now go dance on the water,
perch in a tree or push up out of the ground,
open your petals to the sun. Go sing your song.

(The illustration is A Birthday by Emma Florence Harrison.)

The Snowdrops
by Theodora Goss

I’m bringing you a message:

That the snowdrops are worth listening to,
and if you listen carefully, you can hear them,
but you must get down on your knees, head low
to the ground, as though praying.

They say that spring is more important
than whatever else you were doing, which you thought
was so important.

They say: Look, we’re growing all around you
out of last year’s leaf litter, as you should be growing,
silently, almost imperceptibly, from what you were
into a newer version of yourself.

They say: It’s time. If you weren’t sure whether
it was time, well then it is.

They say: Be joyful, as we are. And you can see
that they are, in their fresh radiance.

They are making you a promise. Although
it may snow again (after all, it’s only February),
although right now the wind is turning your cheeks
red and chapping your hands, although there is nothing
else poking out of the ground except the hellebores,
which are the flowers of winter,

spring is coming. If you pay attention, you can feel it
in the ground, and in yourself. Paying attention
to its arrival is a kind of prayer.

(The painting is Snowdrops and Violets by Eva Francis.)

An Education
by Theodora Goss

I was sent to school with witches,
and I learned the spells they speak
in a sharp gray mouse’s squeak
while making nine black stitches.

For their spells require small things:
the voice of the mouse, and a line
of hyphens in black twine
(oh, the might in colored strings),

drops that the lilies weep
when we shake them after dawn,
bits of cambric, bits of lawn,
and a doll’s eyes closed in sleep.

And it does not matter now
that our spells do petty things,
that they prick like hornets’ stings,
that they cannot scare a crow,

for the principle’s the same:
when we exorcise your moles
with our pretty rigmaroles
(which you think a charming game),

we remember other times,
when we rode the wings of the moon
and the stars rehearsed a tune
with consequential rhymes.

(Illustration by Ida Rentoul Outhwaite. This poem was published in my collection Songs for Ophelia.)