Adelaide Crapsey
Most common moods
Poems
Winter
- The Guarded Wound
- Night Winds
- Amaze
- Shadow
- The Warning
- Fate Defied
- Laurel in the Berkshires
- Niagara
- November Night
- Blue Hyacinths
- On Seeing Weather-Beaten Trees
- Adventure
- The Sun-Dial
- Release
- Rapunzel
- Song
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The Guarded Wound
If it Were lighter touch Than petal of flower resting On grass, oh still too heavy it were, Too heavy!
Night Winds
The old Old winds that blew When chaos was, what do They tell the clattered trees that I Should weep?
Amaze
I know Not these my hands And yet I think there was A woman like me once had hands Like these.
Shadow
A-sway, On red rose, A golden butterfly . . . And on my heart a butterfly Night-wing'd.
The Warning
Just now, Out of the strange Still dusk . . . as strange, as still . . . A white moth flew. Why am I grown So cold?
Fate Defied
As it Were tissue of silver I'll wear, O fate, thy grey, And go mistily radiant, clad Like the moon.
Laurel in the Berkshires
Sea-foam And coral! Oh, I'll Climb the great pasture rocks And dream me mermaid in the sun's Gold flood.
Niagara
Seen on a Night in November
How frail Above the bulk Of crashing water hangs, Autumnal, evanescent, wan, The moon.
Biography
Adelaide Crapsey was an American poet born in 1878 in Brooklyn, New York, and died in 1914 in Rochester, New York. She attended Vassar College and later taught literature at Smith College. Her poetry is notable for its concise, imagistic style and its focus on death, transience, and the natural world. Crapsey created the cinquain, a five-line stanza form influenced by Japanese poetic forms such as the tanka and haiku, which typically follows a syllable pattern of two, four, six, eight, and two. Many of her poems are brief meditations on mortality, written during her long illness with tuberculosis. Her imagery often draws on autumnal scenes, falling leaves, and other symbols of decay and passing time. Crapsey's work was collected posthumously in the volume Verse, published in 1915. The cinquain form she developed later became widely adopted in English-language poetry, particularly in educational settings. Although her output was small, her formal innovation secured her place in the history of American poetry.
