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Analysis and Interpretation of Five Poems by Billy Collins

Embrace Weighing the Dog Passengers Nightclub Sonnet

Embrace
You know the parlor trick. wrap your arms around your own body and from the back it looks like someone is embracing you her hands grasping your shirt her fingernails teasing your neck from the front it is another story you never looked so alone your crossed elbows and screwy grin you could be waiting for a tailor to fit you with a straight jacket one that would hold you really tight.

Analysis of Embrace Assonance: o Examples: parlor and arms, hands and grasping, waiting and tailor Consonance: o Examples: trick and neck, straight and tight End-stopped Line: o Lines 1 and 12 Enjambment: o Lines 2-11 Caesura: o Lines 4, 6, 7, 8, 9 Form: o Continuous Structure: o A continuous section of text that discusses each part of a parlor trick without stopping from one description to another Metaphor Free Verse Imagery

Interpretation of Embrace Embrace is a poem that, by reading the title, causes the reader to believe that the subject matter is warm and inviting. However, through Collins use of metaphor and imagery, the reader quickly finds out that this is not the case at all. The poem is a metaphor for a persons loneliness driving them to do crazy things. The parlor trick, the act of wrapping ones own arms around their body so that it appears as though they are being embraced, gives the illusion that the person is happy. In reality, this joke is a sad attempt to make fun of an intimate act in order to mask the fact that the person suffers from extreme loneliness. By performing this trick, the person tries to convince others that he is not lonely because from the back it looks like someone is embracing you. But the act does not convince the onlooker, because the person never looked so alone. The metaphor proceeds to develop as the poem progresses. Another perspective of the onlooker is that the person could be waiting to be fitted for a straight jacket that would hold them tight. This implies that the person is insane. The insanity the person experiences can be compared to the loneliness; it is crazy that they would resort to an act so immature to make it seem that they are happy. The parlor trick serves as the foundation for the metaphor as its illuminates the persons descent into loneliness-driven insanity. Another powerful element prominent throughout the poem is imagery, both visual and tactile. The poem focuses on the illusion of the parlor trick in which an onlooker sees a person embrace himself. The speaker states that the back looks like a warm embrace while the front is another story. The speaker describes the persons crossed elbows and screwy grin, two details that physically depict the persons childish act.

Tactile imagery is also prevalent in the poem in order to force the reader into the perspective of the lonely person. Her hands grasping your shirt, her fingernails teasing your neck is a phrase that puts the reader into the persons shoes; the reader can picture the imaginary woman tracing her fingers over their skin. This use of imagery is vital because it is a relatable situation that allows the reader to see things from the other persons perspective. It is at this point in the poem when the reader truly realizes that this person is thirsting for another human to make their loneliness disappear. Although the poem does not contain a wide variety of literary devices, the two central elements of metaphor and imagery speak volumes for the poems meaning. By taking a close look at just these two poetic devices, the reader learns both how the lonely subject feels and how others view him as well.

Weighing the Dog


It is awkward for me and bewildering for him as I hold him in my arms in the small bathroom, balancing our weight on the shaky blue scale, but this is the way to weigh a dog and easier than training him to sit obediently on one spot with his tongue out, waiting for the cookie. With pencil and paper I subtract my weight from our total to find out the remainder that is his, and I start to wonder if there is an analogy here. It could not have to do with my leaving you though I never figured out what you amounted to until I subtracted myself from our combination. You held me in your arms more than I held you through all those awkward and bewildering months and now we are both lost in strange and distant neighborhoods.

Analysis of Weighing the Dog Alliteration: o Example: pencil and Paper Assonance: o Example: weight and shaky Caesura End-stopped Line: o Lines 2, 3, 6, 8, 12, 15 Enjambment: o Lines 4 and 7 Form: o Stanzaic Stanza Free Verse Imagery Symbol: o Weighing a dog as an analogy for lost love Structure: o Each major idea is in a separate stanza Synesthesia: o Example: shaky blue scale

Interpretation of Weighing the Dog In the poem Weighing the Dog, Collins uses a lighthearted extended metaphor as an analogy for growing distant from a loved one. The tone, while describing the humorous task of weighing a dog, is light and conveys the image of a person picking up a dog and standing on a scale. The tone, though light, is also a bit awkward and bewildering, because the tone causes the reader to see through the eyes of the person taking on this strange task. In the third stanza, as the speaker subtracts his own weight from the total to determine the physical weight of the dog, he begins to wonder if there is an analogy in the act. At this point of the poem, the tone shifts from light to heavy; the poem strays away from the abstract and silly task of weighing dogs to talking about the speakers lost love. Until he thought about the situation as an analogy, the speaker had never realized how much weight his lover had held in his life. He never appreciated her true value until he had removed himself from the total weight of their relationship. His lover, though he began to lose love for her, was more important to his life than he had originally understood. Unfortunately for him, he had to end the relationship to fully grasp this. The speaker discovered that his life became less full after he left the relationship. The speaker reveals that his partner was more involved in their relationship than he was by referring to himself as he had the dog: You held me in your arms more than I held you through all those awkward and bewildering months. This poem gains its effectiveness by drawing the reader in with an interesting image of an absurd situation, and then continues to discuss the situations deeper meaning. However, the lighthearted beginning allows for the deeper, depressing ending to not seem as dark.

Passengers
At the gate, I sit in a row of blue seats with the possible company of my death, this sprawling miscellany of people carry-on bags and paperbacks that could be gathered in a flash into a band of pilgrims on the last open road. Not that I think if our plane crumpled into a mountain we would all ascend together, holding hands like a ring of skydivers, into a sudden gasp of brightness, or that there would be some common place for us to reunite to jubilize the moment, some spaceless, pillarless Greece where we could, at the count of three, toss our ashes into the sunny air. It's just that the way that man has his briefcase so carefully arranged, the way that girl is cooling her tea, and the flow of the comb that woman passes through her daughter's hair ... and when you consider the altitude, the secret parts of the engines, and all the hard water and the deep canyons below ... well, I just think it would be good if one of us maybe stood up and said a few words, or, so as not to involve the police, at least quietly wrote something down.

Analysis of Passengers Approximate Rhyme: o Examples: paperbacks and flash, Greece and three, open and road Alliteration: o Example: holding hands Assonance: o Examples: gathered and flash, flow and comb Consonance: o Examples: spaceless, pillarless Greece End-stopped Line Enjambment: o Examples: Lines 1 and 5 Form: o Continuous Free Verse Imagery Simile: o Example: Like a ring of skydivers Metonymy: o Line 4

Interpretation of Passengers Outwardly, the speaker of Passengers by Billy Collins may seem to fear death. However, a closer look shows that the speaker is more curious of death than he is afraid of it and that he questions why nobody acknowledges death until it is right around the corner. Above all, the speaker wishes to be remembered once his time has come. The speakers curiosity is shown as he wonders what would happen if the plane were to crash. If the plane crumpled into a mountain, he did not believe that the passengers would fall to their death holding hands like a ring of skydivers. He also wonders what impact a crash would make on the hard water and deep canyons the plane flew over. The speaker discusses death as something that is daunting, but his fear is actually overpowered by his curiosity. As the speaker is curious about what would happen if everyone were to die, he also questions why no one else on the plane appears to be afraid of their possible death. He observes the other passengers doing calm, normal tasks, such as cooling their tea or brushing their daughters hair. He feels the urge to stand up and acknowledge the fact that they all may die, since nobody else appears to realize the direness of their situation. The speaker feels that all of them could die at any moment, but does not understand how no one else recognizes this. The speaker may seem to be afraid or curious of death because he fears that he will not be remembered when he passes. He wishes to at least quietly [write] something down rather than stand up and speak. This desire makes it apparent that he wants there to be evidence of his existence. If they were to all die in a plane crash, at least his words would be written down so that what he created would live on.

Nightclub
You are so beautiful and I am a fool to be in love with you is a theme that keeps coming up in songs and poems. There seems to be no room for variation. I have never heard anyone sing I am so beautiful and you are a fool to be in love with me, even though this notion has surely crossed the minds of women and men alike. You are so beautiful, too bad you are a fool is another one you don't hear. Or, you are a fool to consider me beautiful. That one you will never hear, guaranteed. For no particular reason this afternoon I am listening to Johnny Hartman whose dark voice can curl around the concepts on love, beauty, and foolishness like no one else's can. It feels like smoke curling up from a cigarette someone left burning on a baby grand piano around three o'clock in the morning; smoke that billows up into the bright lights while out there in the darkness some of the beautiful fools have gathered around little tables to listen, some with their eyes closed, others leaning forward into the music as if it were holding them up, or twirling the loose ice in a glass, slipping by degrees into a rhythmic dream. Yes, there is all this foolish beauty, borne beyond midnight, that has no desire to go home, especially now when everyone in the room is watching the large man with the tenor sax that hangs from his neck like a golden fish. He moves forward to the edge of the stage and hands the instrument down to me and nods that I should play. So I put the mouthpiece to my lips and blow into it with all my living breath We are all so foolish, my long bebop solo begins by saying, so damn foolish we have become beautiful without even knowing it.

Analysis of Nightclub Allusion: o Johnny Hartmans songs Approximate Rhyme: o Example: Hartman and can Assonance: o Example: You and beautiful Consonance: o Example: Loose, ice, and glass End-stopped Line: o Lines 4, 5, 8, etc. Enjambment Euphony: o Example: You are so beautiful and I am a fool Form: o Continuous Free Verse Imagery Simile: o Example: like a golden fish Structure: o Each idea is separated into different sections

Interpretation of Nightclub The poem Nightclub discusses how the love of beauty and the beauty in love are two ways to say the same thing. Love and beauty, to the speaker, are the same thing. The imagery Collins presents makes the scene, and the beauty, come alive. The poem alludes to songs performed by jazz singer Johnny Hartman, who the speaker feels truly understands the ideas of love, beauty, and foolishness. The use of imagery makes the reader understand how perceptive the speaker is about love, beauty, and foolishness as well. The foolishness discussed in the beginning is what the speaker believes makes people beautiful. The final two lines discuss how people are foolish. The speakers feelings of people and how strongly he feels about the subject is shown in the second to last line, when he repeats how damn foolish people are. In the very last line, the speaker states that people are so foolish that they become beautiful without even knowing it. The perceptions of love and beauty are brought to life through the speakers feelings on the concept of foolishness.

Sonnet
All we need is fourteen lines, well, thirteen now, and after this one just a dozen to launch a little ship on love's storm-tossed seas, then only ten more left like rows of beans. How easily it goes unless you get Elizabethan and insist the iambic bongos must be played and rhymes positioned at the ends of lines, one for every station of the cross. But hang on here wile we make the turn into the final six where all will be resolved, where longing and heartache will find an end, where Laura will tell Petrarch to put down his pen, take off those crazy medieval tights, blow out the lights, and come at last to bed.

Analysis of Sonnet Allusion: o Examples: Alludes to Petrarchs sonnets to Laura; Sonnets were popular in the Elizabethan era Approximate Rhyme: o Examples: end and pen, seas and beans Rhyme: o Example: Lights and tights Clich: o Example: loves stormed tossed seas Alliteration: o Example: launch, little, and love; Assonance: o Examples: ten and left, this and ship, insist and positioned End-stopped Line: o Lines 1, 3, 4, 7, 8, 10, 11, 12, 13, 14 Form: o Fixed Sonnet Italian Sonnet o Octave and Sestet Free Verse: o Does not actually follow the typical conventions of a sonnet Iambic Pentameter: o Line 14 Imagery Irony: o Writing a sonnet criticizing a sonnet

Interpretation of Sonnet The purpose of the poem Sonnet by Billy Collins is to criticize the use of sonnets. The poem is written in fourteen lines, like a sonnet, but does not follow the traditional conventions of rhyme or meter that sonnets typically contain. The poem contains a deliberate clich, (loves storm-tossed seas) to illustrate the fact that sonnets themselves are clich. The first eight lines and the last six lines, however, create an octave and a sestet, though not the traditional type, that define Italian or Petrarchan sonnets. The first eight lines discuss the writing of the sonnet and Collins criticism. The last six, contain the turn that establishes the resolution. The poem alludes to Petrarchs sonnets to Laura and makes it seem as though even Laura thought that Petrarch was crazy for writing his series of sonnets. This poem is Collins ironic criticism for the use of sonnets in modern poetry. As the majority of Collins poetry is free verse, use of a sonnet to criticize the writing of sonnets is especially ironic.

Analysis and Interpretation of Five Poems from the Textbook


Delight in Disorder by Robert Herrick That night when joy began by W. H. Auden Aunt Jennifers Tigers by Adrienne Rich Since theres no help by Michael Drayton Metaphors by Sylvia Plath

Delight in Disorder by Robert Herrick


A sweet disorder in the dress Kindles in clothes a wantonness; A lawn about the shoulders thrown Into a fine distraction; An erring lace, which here and there Enthralls the crimson stomacher; A cuff neglected, and thereby Ribbons to flow confusedly; A winning wave, deserving note, In the tempestuous petticoat; A careless shoestring, in whose tie I see a wild civility; Do more bewitch me than when art Is too precise in every part.

Analysis of Delight in Disorder Alliteration: o Examples: disorder and dress, winning wave Assonance: o Example: shoulders thrown End Rhyme Rhyme End-stopped Line o Lines 2, 4, 6, 8, 9, 10, 12 Enjambment: o Lines 3, 5, 7, 11, 13 Foot Stress Iamb Meter: o Tetrameter Form: o Continuous Imagery Oxymoron: o Examples: sweet disorder, fine distraction, flow confusedly, wild civility

Interpretation of Delight in Disorder In Delight in Disorder by Robert Herrick, a speaker discusses a variety of a womans clothes and their imperfections, but still finds the woman to be beautiful. Throughout the poem, oxymorons are prevalent. The phrases sweet disorder, fine distraction, flow confusedly, and wild civility illustrate how the speaker finds her flaws unimportant because the woman he loves is beautiful regardless. Along with the frequent use of oxymorons to make the point, the rhyme scheme is not always perfect. About half of the end rhymes used are approximate rhymes and not therefore are imperfect. However, the choice of words still make the poem beautiful, much like how the speaker finds the woman beautiful despite her imperfections. The final two lines conclude the speakers feelings by stating that he finds faults more beautiful than when everything is too precise in every part. Through the speakers use of multiple oxymorons and an imperfect rhyme scheme, he illustrates how beauty is truly appreciated when one can accept and love their partners imperfections.

That night when joy began by W. H. Auden


That night when joy began Our narrowest veins to flush, We waited for the flash Of morning's leveled gun. But morning let us pass, And day by day relief Outgrows his nervous laugh, Grown credulous of peace, As mile by mile is seen No trespasser's reproach, And love's best glasses reach No fields but are his own.

Analysis of That night when joy began Alliteration: o Example: pass and peace Assonance: o 1st and 4th lines of each stanza Consonance: o 2nd and 3rd lines of each stanza End-stopped Line o Lines 2, 4, 5, 7, 8, 10, 12 Approximate Rhyme: o Every other line of each stanza Meter: o Trimeter Foot Iamb Cadence Stress Form: o Stanzaic Stanza: o Each of three have the same patterns of assonance and consonance

Interpretation of That night when joy began W. H. Audens poem, That night when joy began, is an account of how the speaker at first believed that good things must come to an end, but then settled in to the idea that things may work out for him. The speaker refers the first night he had with his partner as that night when joy began. They were happy with their lives and each other. However, they assumed their joy would be abruptly ended as they waited for the flash of mornings leveled gun. The next stanza discusses how the morning came and they were still happy together. Nothing had ended their joy, and they began to believe that their happiness and togetherness would actually last. The final stanza tells how, as time progresses, the lovers become more comfortable with each other and become increasingly less worried about their love and happiness ending. The last two lines refer to the fact that their love will not be diminished no matter how far and clearly into the future they look. Throughout the poem, the rhymes are made up of approximate rhymes and an intricate pattern of assonance and consonance. The approximate rhymes, as well as the progression of assonance in the first and third lines of each stanza and consonance in the second two, signify that the lovers happiness continues to grow, though anxiously. Auden was an openly gay man in a time period where homosexuality was considered a crime. Had the lovers been found, they could have been sentenced to prison. But their happiness did not end, and they were allowed to love each other, however anxiously, for a very long time.

Aunt Jennifers Tigers by Adrienne Rich


Aunt Jennifer's tigers prance across a screen, Bright topaz denizens of a world of green. They do not fear the men beneath the tree; They pace in sleek chivalric certainty. Aunt Jennifer's fingers fluttering through her wool Find even the ivory needle hard to pull. The massive weight of Uncle's wedding band Sits heavily upon Aunt Jennifer's hand. When Aunt is dead, her terrified hands will lie Still ringed with ordeals she was mastered by. The tigers in the panel that she made Will go on prancing, proud and unafraid.

Analysis of Aunt Jennifers Tigers Alliteration: o Example: sleek and certainty Assonance: o Example: beneath and tree Consonance: o Example: sleek chivalric, topaz denizens End Rhyme Rhyme End-stopped Line: o Lines 1, 2, 3, 4, 6, 8, 10, 12 Enjambment: Lines 7 and 11 Caesura: o Line 5 Form: o Stanzaic Imagery Symbol Stanza Structure: o Separate ideas are in separate stanzas.

Interpretation of Aunt Jennifers Tigers A wifes oppression is the issue discussed in Adrienne Richs Aunt Jennifers Tigers. The poem tells the story about the speakers aunt, who embroidered a pair of tigers in a scene to escape from her husbands overbearing behavior. The tigers represent the qualities Aunt Jennifer wishes to possess; they do not fear and they are confident. The tigers pace in chivalric certainty, so while they represent what Aunt Jennifer wishes for herself, they may also represent what she wishes for her husband. If she is living under the rule of an over-controlling husband, she may imagine him as gentlemanly and chivalric in her fantasy land; she imagines this world as an escape from her imperfect and oppressive marriage. The second stanza truly makes it clear that Aunt Jennifer is directly influenced by what her husband says. Her fingers find even the ivory needle hard to pull, so although she creates a fantasy world to escape to, her husbands constant disapproval makes it difficult for Aunt Jennifer to allow herself this happiness. The weight of Uncles wedding band is not used literally, but figuratively; the weight of her husbands constant presence and judgment weighs heavily upon anything Aunt Jennifer does. The final stanza abruptly states that Aunt Jennifer will die terrified of her husband. Like tigers in a circus, Aunt Jennifer was mastered and will die ringed with ordeals. She learned to live her life in the shadow of her husband, and such is the way she will always live. When she dies, the tigers she created in her fantasy land will go on prancing proud and unafraid, because Aunt Jennifer would finally be free from the oppression created by her husband.

Since theres no help by Michael Drayton


Since there's no help, come, let us kiss and part, Nay, I have done, you get no more of me, And I am glad, yea, glad with all my heart, That thus so cleanly I myself can free. Shake hands for ever, cancel all our vows, And when we meet at any time again Be it not seen in either of our brows That we one jot of former love retain. Now at the last gasp of Love's latest breath, When, his pulse failing, Passion speechless lies, When Faith is kneeling by his bed of death, And Innocence is closing up his eyes, Now, if thou wouldst, when all have giv'n him over, From death to life thou might'st him yet recover.

Analysis of Since theres no help Alliteration: o Examples: come and kiss, cleanly and cancel Assonance: o Examples: no more, cleanly and free Consonance: o Example: again and seen Allegory: o Lines 9-12 Dramatic Monologue End Rhyme End-stopped Line: o Lines 1, 2, 3, etc. Enjambment: o Line 7 Foot Stress Form: o Fixed English Sonnet Sonnet Iamb Masculine Rhyme: o Three quatrains Feminine Rhyme: o Concluding couplet Meter o Iambic Pentameter Quatrain Couplet Synecdoche: o Example: with all my heart

Interpretation of Since theres no help Michael Draytons Since theres no help is a sonnet that describes a speakers feeling of dying love. The first three quatrains discuss how he wishes to end the relationship with his lover. He wishes for the love to end completely, so that if they should see each other again, it should not be evident that they retain one jot of former love. He feels that freedom can only be attained by ending the relationship, and is confident in his assessment that it should end. In the third quatrain, the speaker personifies Love, Passion, Faith, and Innocence and uses imagery to show how he feels the love has already faded away. The couple is at the last gasp of their love, and the pulse [is] failing. Faith is personified to be kneeling by the bedside as Passion fades from their relationship. As their relationship fails, Innocence dies with their love as well, since it is often this perspective that is viewed through the eyes of young people in love. The poem dramatically shifts in the final couplet, as the speaker addresses the reader as his lover and tells her that it is up to her for their love to be saved. Although the three quatrains discussed the speakers lack of hope left for the relationship, he still feels that there may be a chance and that only the woman could save their love. Throughout the poem, the reader feels that the speaker is in control of his feelings toward their love, but the final couplet states otherwise. His only hope for restoring their love resides in the decision of the woman.

Metaphors by Sylvia Plath


I'm a riddle in nine syllables, An elephant, a ponderous house, A melon strolling on two tendrils. O red fruit, ivory, fine timbers! This loaf's big with its yeasty rising. Money's new-minted in this fat purse. I'm a means, a stage, a cow in calf. I've eaten a bag of green apples, Boarded the train there's no getting off.

Analysis of Metaphors Alliteration: o Examples: two tendrils, money and minted, cow in calf Assonance: o Example: bag and apples Consonance: o Examples: house and purse, calf and off End-stopped Line Form: o Continuous Imagery Metaphor Structure: o Nine lines and the nine syllables per line reflects the speakers pregnancy

Interpretation of Metaphors Metaphors by Sylvia Plath is a unique way for Plath to discuss her pregnancy. The poem itself contains nine lines, one for each month of gestation. Likewise, each individual line contains nine syllables. The poem, like the title suggests, is a series of metaphors that represents her progressing pregnancy. Im a riddle in nine syllables sets the stage for what is to come, both in the poem and in this period of her life. The poem could be considered a riddle because it is never expressly stated that the subject of the poem is Plaths pregnancy. It is up to the reader to solve the riddle and determine what the poem is focused on. The second line begins to describe how Plath feels about her body. She infuses comedy into the image by referring to herself as an elephant when she is alluding to the size her body has become through the pregnancy. A ponderous house refers to her body as a place of dwelling for the baby, and gives the reader an idea of Plaths feelings on her pregnancy; she is pondering what life will be like when the baby is born. The third line is also based in comedy as Plath is poking fun at her appearance again. A melon strolling on two tendrils evokes a strong image in the readers mind of how the woman looks in her pregnancy. The fruit in line four brings back the idea of the melon, and also the idea of the baby. As fruits are the valued product of the plant, the baby will be what is produced by the person. Similarly, ivory is a valuable material and fine timbers are used to build houses. All objects mentioned in line four describe how valuable the baby will be, especially compared to the producer, Plath. She feels as though the baby will be more valued than herself. Line five refers to the growth of the child during pregnancy. The child is developing inside its mother like a loaf of bread rises in an oven. Lines six and seven once again refer to the

value of the child over the value of the mother; money is, of course, worth more than the purse, just as the stage is not valued as much as what plays out on it nor is the cow valued more than the calf. These two lines again show how Plath fears that the unborn child will be worth more to the world than she is. In the last two lines, the reader truly gains an understanding about Plaths feelings toward her pregnancy. These lines do not focus on the pregnancy, but rather they show how Plath feels trapped in the situation. Line 8 could be alluding to the biblical tale of how Eve ate the forbidden fruit and was condemned from Gods presence. In this case, the speaker ate an entire bag of the forbidden apples, and feels trapped and alone in the situation. Lastly, she feels as though there is no escape because she has boarded the train from which there is no getting off.

Original Poetry
Future Plans Long Frustrated

Future Plans
I know youve been trying to work everything out. I know its been difficult and everyones had their doubts except you. This is what you want. And I cant even say anything at all to you that would ever make you stay. Ive begged and Ive pleaded, Ive tried to get inside your head, but nothing Ive tried has worked despite all the things Ive said. And the sad part is, Im just selfish because youre doing this for me so that we can have a future. I guess your reality is just different than mine, because I dont see why this is the path you have to take when there are other options to try. Youll be strong and I wont be so I dont know whose shoulder Ill be able to cry on when youre off being a soldier.

Long
Often I drive you home after Long days And on the way there We fight over stupid things Just because weve been together for a Long time. When I pull into your driveway, We stare at each other And we mutter half-hearted apologies Because we both know that in the morning The fight will be Long over. On my way home, I always Roll down my window Just to clear out the air Of the things both you and I said out of frustration. In the silent miles home, I look for cars like mine With the drivers side window rolled down In thirty five degree weather And I wonder if they just had another Meaningless Fight too.

Frustrated
I always get so frustrated when Things. Pile. Up. And I never know what to do Because Im terrible At managing my life. So instead of working through it, I Shut. Myself. Down. And it never really helps Because Im awful At moving past complications. I make myself so angry by Hiding. From my. Problems. And I forget what its like To relax and be happy So my matters get worse. I wish I would be smart and Try. To find. Solutions. And possibly fix my issues With time and other factors So things get better.