Michael Collier

Argos

If you think Odysseus too strong and brave to cry,
that the god-loved, god-protected hero
when he returned to Ithaka disguised,
intent to check up on his wife

 

and candidly apprise the condition of his kingdom,
steeled himself resolutely against surprise
and came into his land cold-hearted, clear-eyed,
ready for revenge, then you read Homer as I did,

 

too fast, knowing you’d be tested for plot
and major happenings, skimming forward to the massacre,
the shambles engineered with Telémakhos
by turning beggar and taking up the challenge of the bow.

 

Reading this way you probably missed the tear
Odysseus shed for his decrepit dog, Argos,
who’s nothing but a bag of bones asleep atop
a refuse pile outside the palace gates. The dog is not

 

a god in earthly clothes but in its own disguise
of death and destitution is more like Ithaka itself.
And if you returned home after twenty years
you might weep for the dog

 

you long ago abandoned, rising from the garbage
of its bed, its instinct of recognition still intact,
enough will to wag its tail, lift its head, but little more.
Years ago you had the chance to read that page more closely

 

but instead you raced ahead, like Odysseus, cocksure
with your plan. Now the past is what you study,
where guile and speed give over to grief so you might stop
and desiring to weep, weep more deeply.


Michael Collier
“Argos” is from The Ledge (Houghton Mifflin, 2000).