Litany

Litany

By Billy Collins

You are the bread and the knife,
The crystal goblet and the wine…
-Jacques Crickillon

You are the bread and the knife,
the crystal goblet and the wine.
You are the dew on the morning grass
and the burning wheel of the sun.
You are the white apron of the baker,
and the marsh birds suddenly in flight.

However, you are not the wind in the orchard,
the plums on the counter,
or the house of cards.
And you are certainly not the pine scented air.
There is just no way that you are the pine scented air.

It is possible that you are the fish under the bridge,
maybe even the pigeon on the general’s head,
but you are not even close
to being the field of cornflowers at dusk.

And a quick look in the mirror will show
that you are neither the boots in the corner
nor the boat asleep in its boathouse.

It might interest you to know,
speaking of the plentiful imagery of the world,
that I am the sound of rain on the roof.

I also happen to be the shooting star,
the evening paper blowing down an alley
and the basket of chestnuts on the kitchen table.

I am also the moon in the trees
and the blind woman’s tea cup.
But don’t worry, I’m not the bread and the knife.
You are still the bread and the knife.
You will always be the bread and the knife,
not to mention the crystal goblet and somehow the wine.

Summary of Litany

• About the Poem: “Litany,” by Billy Collins, is a playful and charming exploration of love expressed through an extended metaphor. The poem first appeared in the journal Poetry in 2002 and was later included in his collection, The World of Billy Collins. The poem opens with the line, “You are the bread and the knife, the crystal goblet and the wine,” which sets the stage for Collins’ own litany of comparisons.
• Central Idea: The poem’s central idea revolves around the almost overwhelming abundance of imagery used to describe a loved one, and the speaker’s attempt to define that love. The speaker uses a cascade of comparisons—things his beloved is and is not—to illustrate the vastness and complexity of his feelings. There’s a delightful self‑awareness throughout, as the speaker eventually turns the comparisons inward, describing himself as various objects and phenomena.
• What to Know: “Litany” is notable for its conversational tone, its use of everyday objects and images, and its playful approach to a traditionally serious subject. It’s a poem that delights in the sheer possibilities of language and the joy of imaginative comparison. The repetitive structure, with its “you are” and “you are not” phrases, creates a rhythmic and engaging effect.

Analysis of Literary Devices in Litany

Assonance and Consonance

Collins masterfully uses sound devices to create a musical quality in “Litany.” Assonance, the repetition of vowel sounds, and consonance, the repetition of consonant sounds, subtly enhance the poem’s rhythm and flow. For example, consider the line, “However, you are not the wind in the orchard.” The repeated short “i” sound in “wind” and “in” creates a subtle echo, adding to the musicality. Similarly, the consonance in “the basket of chestnuts on the kitchen table” – the repeated “t” and “k” sounds – contributes to the poem’s pleasing texture.

Imagery and Metaphor

The poem is a veritable feast of imagery and metaphor. Collins uses vivid descriptions to create mental pictures, inviting the reader to experience the world through his senses. The opening lines immediately establish this: “You are the bread and the knife, the crystal goblet and the wine.” This isn’t literal; it’s metaphorical. The beloved is being equated with objects associated with sustenance, elegance, and pleasure. This extended metaphor continues throughout the poem, with the speaker listing things his beloved is—dew, the sun, a baker’s apron—and things she is not—wind, plums, pine scented air.

Repetition and Anaphora

The repeated “You are” and “You are not” phrases are examples of anaphora—the repetition of a word or phrase at the beginning of successive clauses. This creates a rhythmic, almost incantatory effect, drawing the reader in and emphasizing the speaker’s attempt to define his love through a series of comparisons. The constant shifting between affirmation and negation highlights the difficulty of capturing the totality of a person in words. Consider how this repetition builds at the beginning:

You are the bread and the knife,
the crystal goblet and the wine.
You are the dew on the morning grass
and the burning wheel of the sun.

The Power of Negation

Collins doesn’t just focus on what his beloved is; he also emphasizes what she is not. This seemingly negative approach actually strengthens the definition. By stating what she isn’t—the wind, plums, pine scented air—he clarifies her unique qualities. The emphatic “There is just no way that you are the pine scented air” is particularly effective, conveying a sense of playful insistence. It shows that defining love isn’t just about listing positive attributes, but also about recognizing what doesn’t quite fit.

Analysis of Poetic Devices in Litany

Free Verse and Form

“Litany” is written in free verse, meaning it doesn’t adhere to a strict rhyme scheme or metrical pattern. This allows Collins to create a natural, conversational tone and to emphasize the content of the poem rather than its formal structure. The lines flow freely, mimicking the way thoughts and feelings often unfold in the mind. However, the poem isn’t entirely formless. The use of repetition and the relatively short line lengths create a subtle sense of order and rhythm.

Shifting Perspective

A key element of “Litany” is the shift in perspective. Initially, the speaker focuses entirely on describing his beloved. However, toward the end of the poem, he turns the focus inward, describing himself as various objects and phenomena: “I am the sound of rain on the roof… I am the shooting star.” This subtle shift is significant. It suggests that love is not just about perceiving the other person, but also about recognizing one’s own role in the relationship. It is a subtle moment of self‑awareness, suggesting that the speaker is not simply describing love, but experiencing it.

Diction and Tone

Collins’s diction is deliberately accessible and conversational. He uses everyday language and avoids overly ornate or complex phrasing. This contributes to the poem’s approachable and engaging tone. The poem is playful and lighthearted, but it also contains moments of genuine tenderness and insight. The overall effect is one of warmth and affection. The use of common objects creates a sense of realism, grounding the fantastical comparisons in the everyday world.

Quotes to be Used

These lines from “Litany” resonate with the abundance and beauty found in the world, and the joy of simple observation:

It might interest you to know,
speaking of the plentiful imagery of the world,
that I am the sound of rain on the roof.

This quote encapsulates the poem’s central theme of finding beauty and meaning in the ordinary, and recognizing the interconnectedness of all things. It also highlights the speaker’s self‑awareness and his ability to find joy in the simple pleasures of life.