To The Film Industry In Crisis Poem Rhyme Scheme and Analysis
Rhyme Scheme: ABCDDEF FEGHIDJKDBLMNOPQRSQT EUUUVWWXDUUFUDUYIZ| Not you lean quarterlies and swarthy periodicals | A |
| with your studious incursions toward the pomposity of ants | B |
| nor you experimental theatre in which Emotive Fruition | C |
| is wedding Poetic Insight perpetually nor you | D |
| promenading Grand Opera obvious as an ear though you | D |
| are close to my heart but you Motion Picture Industry | E |
| it's you I love | F |
| - | |
| In times of crisis we must all decide again and again whom we love | F |
| And give credit where it's due not to my starched nurse who taught me | E |
| how to be bad and not bad rather than good and has lately availed | G |
| herself of this information not to the Catholic Church | H |
| which is at best an oversolemn introduction to cosmic entertainment | I |
| not to the American Legion which hates everybody but to you | D |
| glorious Silver Screen tragic Technicolor amorous Cinemascope | J |
| stretching Vistavision and startling Stereophonic Sound with all | K |
| your heavenly dimensions and reverberations and iconoclasms To | D |
| Richard Barthelmess as the 'tol'able' boy barefoot and in pants | B |
| Jeanette MacDonald of the flaming hair and lips and long long neck | L |
| Sue Carroll as she sits for eternity on the damaged fender of a car | M |
| and smiles Ginger Rogers with her pageboy bob like a sausage | N |
| on her shuffling shoulders peach melba voiced Fred Astaire of the feet | O |
| Eric von Stroheim the seducer of mountain climbers' gasping spouses | P |
| the Tarzans each and every one of you I cannot bring myself to prefer | Q |
| Johnny Weissmuller to Lex Barker I cannot Mae West in a furry sled | R |
| her bordello radiance and bland remarks Rudolph Valentino of the moon | S |
| its crushing passions and moonlike too the gentle Norma Shearer | Q |
| Miriam Hopkins dropping her champagne glass off Joel McCrea's yacht | T |
| and crying into the dappled sea Clark Gable rescuing Gene Tierney | E |
| from Russia and Allan Jones rescuing Kitty Carlisle from Harpo Marx | U |
| Cornel Wilde coughing blood on the piano keys while Merle Oberon berates | U |
| Marilyn Monroe in her little spike heels reeling through Niagara Falls | U |
| Joseph Cotten puzzling and Orson Welles puzzled and Dolores del Rio | V |
| eating orchids for lunch and breaking mirrors Gloria Swanson reclining | W |
| and Jean Harlow reclining and wiggling and Alice Faye reclining | W |
| and wiggling and singing Myrna Loy being calm and wise William Powell | X |
| in his stunning urbanity Elizabeth Taylor blossoming yes to you | D |
| and to all you others the great the near great the featured the extras | U |
| who pass quickly and return in dreams saying your one or two lines | U |
| my love | F |
| Long may you illumine space with your marvellous appearances delays | U |
| and enunciations and may the money of the world glitteringly cover you | D |
| as you rest after a long day under the kleig lights with your faces | U |
| in packs for our edification the way the clouds come often at night | Y |
| but the heavens operate on the star system It is a divine precedent | I |
| you perpetuate Roll on reels of celluloid as the great earth rolls on | Z |
Frank O'hara
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