An In-Depth Analysis of Billy Collins’ “Litany”: A Poetic Deconstruction of Love and Language

I. Introduction: Unpacking the “Litany”

Billy Collins, widely recognized as “the most popular poet in America” by the New York Times, has carved a unique niche in contemporary poetry. His distinctive poetic style is characterized by a conversational tone, infused with wit and humor, which serves as an inviting gateway for a broad readership.¹ Beneath this accessible surface, however, Collins’s poems frequently delve into “quirky, tender, or profound observation on the everyday, reading and writing, and poetry itself”.¹ This seamless blend of accessibility and intellectual depth has led critics such as Michael Donaghy to laud him as a “rare amalgam of accessibility and intelligence”.²

A significant aspect of Collins’s originality lies in what has been described as a “marriage of a loopy, occasionally surreal imagination … to an ordinary life observed in just a few ordinary words”.² His compositions are celebrated for appearing transparent on the surface, yet revealing deeper meaning, thought-provoking ideas, or wisdom upon closer examination.² This layered quality is further enhanced by his “reader-conscious” approach, where he consciously envisions a single reader in the room with him, aiming to create a hospitable tone at the beginning of each poem.² This deliberate engagement with the reader contributes significantly to the welcoming nature of his verse.

Published in his 2002 collection Nine Horses, “Litany” stands as a quintessential example of Collins’s signature style.³ The poem immediately captivates the reader with its characteristic humor and approachable language, while subtly engaging in a satirical critique of traditional love poetry.³ Its opening is particularly notable, as Collins deliberately borrows a couplet from the Belgian poet Jacques Crickillon, an intertextual act that establishes a playful and self-aware tone from the poem’s very inception.⁴ This article will holistically explore Billy Collins’ “Litany,” demonstrating how the poem masterfully employs humor and irony to subvert the traditional blazon form, critiques the superficiality of clichéd poetic language, and ultimately offers a nuanced, playful, and deeply human portrayal of love and identity within the framework of Collins’s distinctive “reader-conscious” style.

II. The Title’s Resonance: “Litany” as Form and Irony

The title “Litany” carries a profound dual significance, drawing from both its historical and contemporary meanings, both of which are central to Collins’s poetic intent. Historically, a “litany” refers to a type of prayer, often characterized by a series of invocations or supplications with repetitive congregational responses.⁴ This religious origin imbues the term with connotations of solemnity, devotion, and a structured, often lengthy, recitation.⁷ In a more modern, secular context, however, “litany” has evolved to colloquially imply a long, often tedious or boring list or recital.⁸

Collins’s “Litany” is a prime example of a “blazon,” an ancient literary tradition where a poet enumerates a lover’s positive attributes through a list of hyperbolic similes and metaphors.⁴ Collins openly acknowledges his engagement with this tradition, even stating that he is “stealing the first two lines from another poet” (Jacques Crickillon) to initiate his own version of the blazon.⁴

However, Collins immediately subverts this established tradition. Rather than earnestly enumerating positive traits, he constructs a list of comparisons that rapidly become “increasingly ludicrous and comical”.⁴ The title itself, by implying a “boring and tedious recited list,” signals Collins’s intention to “mock the blazon genre from the outset”.⁹ The humor of the poem is largely derived from this structural play, as the “long list” implied by the title becomes a vehicle for unexpected and absurd comparisons.⁴ Collins, much like Shakespeare in his famous Sonnet 130, invites readers to “laugh at poetry” in a self-critical and charming way, by highlighting the inherent silliness of overly figurative language when used for romantic declarations.⁴

The title “Litany” thus immediately presents a duality that underpins the poem’s core ironic stance. The religious connotation of a solemn, worshipful prayer is juxtaposed with the colloquial meaning of a tedious, repetitive list.⁴ Collins harnesses this dual meaning to establish the poem’s satirical foundation. By adopting the blazon form, which traditionally involves hyperbolic praise ⁴, and then filling it with increasingly absurd and contradictory comparisons ⁴, the poem leverages the “tedious list” aspect to satirize the superficiality and logical inconsistencies of such exaggerated declarations. Simultaneously, the “prayer-like” quality, though initially ironic, is subtly re-engaged through the poem’s later reception by a three-year-old.⁴ In this innocent rendition, the satirical list transforms into a “worshipful rhapsody” of the world’s abundance, where everything reminds the child of the beloved and themselves.⁴ This demonstrates Collins’s unique ability to infuse humor with profound observation, suggesting that the poem’s initial comedic intent does not preclude a deeper, almost spiritual, appreciation for the “plentiful imagery of the world”.⁴ The title, therefore, functions not merely as a label, but as a structural and thematic key that unlocks the poem’s layered meaning and its critique of poetic convention.

III. A Masterclass in Metaphor: Deconstructing the Comparisons

The poem’s central literary device—metaphor and simile—is meticulously employed to create its humorous effect and to serve Collins’s broader critique of poetic language. The poem commences with lines famously borrowed from Jacques Crickillon: “You are the bread and the knife, / The crystal goblet and the wine”.³ Collins’s strategic choice to begin with these particular metaphors is crucial. As analysis reveals, these comparisons are inherently illogical: how can one simultaneously embody both the “bread” and the “knife” that cuts it, or the “goblet” and the “wine” it contains?⁹ While traditional blazons aim to connect the beloved to objects of profound significance (bread as the biblical staff of life, wine associated with physical pleasure and luxury), Collins immediately highlights their “illogical nature” and “clichéd” quality.⁹ This immediate contradiction establishes the parodic tone for the entire poem, underscoring Collins’s intention to critique the thoughtless deployment of evocative but ultimately meaningless metaphors.⁹

The imagery within the poem progresses from domestic to pastoral settings, initially presenting comparisons that are at direct odds with one another. For instance, the beloved is simultaneously “dew on the morning grass” and “the burning wheel of the sun”.⁹ This juxtaposition of water condensate and the heat that evaporates it further emphasizes the contradictory nature of hyperbolic comparisons.⁹ The imagery then moves to the “white apron of the baker” and “marsh birds suddenly in flight,” introducing elements of movement and a temporal connection to the morning.⁹

The poem then shifts its focus to explicitly state what the beloved is not, introducing a series of negations: “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”.³ The emphatic insistence, “There is just no way that you are the pine-scented air,” adds a distinct layer of comedic emphasis.⁴ Subsequently, the poem allows for more specific, less clichéd, and increasingly ludicrous comparisons, transitioning from the pastoral to the urban: “the fish under the bridge” and “the pigeon on the general’s head”.⁴ This deliberate progression from generic, idealized images to specific, mundane ones further underscores the poem’s satirical intent, mocking the grandiosity of traditional love poetry by applying its form to the absurdities of everyday life.⁹

The poem’s most salient critique of the blazon genre and the poetic conventions it parodies emerges when the speaker turns to describe themselves.⁹ Prior to this, the speaker references “the plentiful imagery of the world” ⁴, implying an infinite reservoir of potential metaphors.⁹ Collins suggests that poets should “deeply think out” comparisons rather than relying on “familiar images that are evocative on the surface but ultimately meaningless”.⁹ To illustrate this point, the speaker initially compares themselves to traditional, yet ultimately shallow, metaphors such as “the sound of rain on the roof,” “the shooting star,” and “the moon in the trees”.³ These comparisons, while conventionally poetic, “explain nothing about who they might be as a person or why the beloved might value them”.⁹ In stark contrast, the speaker then offers highly specific and personal images: “the evening paper blowing down an alley, / and the basket of chestnuts on the kitchen table […] / and the blind woman’s teacup”.³ These visuals, which “read like private jokes or memories between the speaker and the beloved,” provide a glimpse into their shared “lived reality” that contrasts sharply with universalizing and impersonal metaphors.⁹

The poem’s progression of metaphors is not merely a comedic device but a sophisticated commentary on the craft of poetry itself. Collins commences by showcasing the logical flaws inherent in clichéd, hyperbolic metaphors, such as the beloved being both “bread and knife” or “dew and sun”.⁹ These comparisons, despite their traditional symbolic weight, are inherently contradictory. This initial move establishes the poem’s satirical foundation. The subsequent shift to increasingly specific and mundane images for the beloved (e.g., “pigeon on the general’s head”) ⁹ and then for the speaker themselves (e.g., “evening paper blowing down an alley,” “blind woman’s teacup”) ⁹ is a pivotal development. Collins explicitly conveys that poets should “deeply think out” comparisons rather than relying on “familiar images that are evocative on the surface but ultimately meaningless”.⁹ By presenting both the “meaningless” universal symbols and the “specific” personal ones within the same poetic framework, Collins implicitly advocates for a more grounded, authentic, and observant approach to metaphor. The poem, therefore, functions as a lesson in poetic efficacy, arguing that true meaning and genuine connection in poetry stem from specific, lived-in details rather than abstract, overused grandiosity.

The following table illustrates the strategic evolution of metaphors throughout “Litany” and their respective functions in Collins’s critique and comedic framework:

Lines/Stanza	Metaphor/Simile	Subject	Type of Comparison	Function/Critique
Lines 1-2	“You are the bread and the knife, The crystal goblet and the wine.”	Beloved (“You”)	Contradictory Cliché (Borrowed)	Highlights inherent illogicality; satirizes thoughtless, hyperbolic praise.
Lines 3-4	“You are the dew on the morning grass. And the burning wheel of the sun,”	Beloved (“You”)	Pastoral Cliché (Contradictory)	Juxtaposes negating elements (water/heat); continues critique of contradictory grandiosity.
Lines 5-6	“You are the white apron of the baker, And the marsh birds suddenly in flight.”	Beloved (“You”)	Pastoral/Domestic (Action-oriented)	Introduces movement and temporal connection; shifts from static, contradictory images.
Lines 7-11	“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.”	Beloved (“You”)	Explicit Negation (Comedic)	Creates humor through emphatic denial; challenges the “you are everything” trope.
Lines 12-16	“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.”	Beloved (“You”)	Urban Specific / Mundane	Shifts from pastoral to urban; introduces specific, less idealized, and somewhat absurd comparisons; emphasizes beloved’s distinct, non-universal identity.
Lines 20-22	“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.”	Speaker (“I”)	Universal Poetic (Initial) / Personal Specific	Speaker’s initial self-description uses traditional, yet shallow, poetic images, then shifts to highly specific, personal, and quirky images; illustrates the contrast between generic and meaningful metaphors.
Lines 25-26	“I am also the moon in the trees. And the blind woman’s tea cup.”	Speaker (“I”)	Personal Specific	Continues the trend of unique, intimate images that suggest shared experience or private jokes.
Lines 27-30	“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.”	Speaker (“I”) & Beloved (“You”)	Affirmation / Reiteration	Playfully re-establishes the beloved’s foundational importance, despite the preceding satirical negations and the speaker’s self-aggrandizement, affirming a specific, enduring bond.

IV. The Play of Identities: Speaker, Beloved, and Self-Importance

“Litany” offers a compelling reframing of conventional notions of self-importance and the ways in which individuals employ metaphors to define themselves and others.¹⁰ The poem directly challenges the ubiquitous cliché of “you are my everything” by presenting a highly specific, and often comically restrictive, vision of how the speaker perceives the beloved.¹⁰

Initially, the speaker bestows grand and essential qualities upon the beloved, declaring, “You are the bread and the knife, The crystal goblet and the wine…”.³ However, the speaker swiftly pivots to explicitly state what the beloved is not, introducing a series of negations such as “the wind in the orchard” or “the pine-scented air”.³ This use of negation, particularly the emphatic assertion, “There is just no way that you are the pine-scented air,” injects a sarcastic and playfully dismissive tone regarding the beloved’s perceived importance in certain, often absurd, contexts.¹⁰ The poem also subtly shifts the power dynamic traditionally inherent in the blazon. By noting that the beloved could “simply behold a reflection and form opinions without any input the speaker” ⁹, Collins introduces the idea of the beloved’s independent self-perception, moving away from a speaker-centric definition of identity.

In a significant turn, the speaker then attributes a variety of grand and whimsical metaphors to themselves: “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”.³ This striking contrast highlights a playful, almost mock self-importance on the part of the speaker, creating a humorous imbalance in the relationship’s metaphorical landscape.¹⁰

Despite the sarcastic and often absurd use of metaphors, the poem effectively conveys a “very specific love and playfulness of relationship”.¹⁰ The speaker’s final reiteration, “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” ³, serves as a powerful affirmation. This conclusion, following the preceding playful negations and self-aggrandizement, suggests an enduring and specific affection.¹⁰ It implies a love that accepts each other’s imperfections and unique identities, finding happiness in their complementary natures.⁶

Traditional love poetry, particularly the blazon, often positions the speaker as the sole arbiter of the beloved’s identity, showering them with idealized comparisons. Collins’s “Litany” subverts this by first introducing explicit negations (“you are not…”) ³, which not only generate humor but also subtly challenge the speaker’s omniscient authority. The line “And a quick look in the mirror will show” ⁴ further implies that the beloved possesses their own independent self-awareness and perception, moving beyond the speaker’s sole definition.⁹ This shift in agency is a crucial element of the poem’s redefinition of relational dynamics. Subsequently, the speaker turns inward, asserting their own distinct and equally extensive identity through a series of quirky metaphors.³ This dual assertion of identity—what the beloved is not and what the speaker is—reconfigures the relationship from a one-sided adoration to a playful, reciprocal recognition of distinct yet complementary selves. The final affirmation of the beloved as “the bread and the knife” ³ is not a simple return to cliché, but rather a humorous yet profound acknowledgment of a unique, foundational bond that thrives on individual distinctness rather than idealized fusion, thereby redefining how love and identity are expressed in contemporary poetry.

V. Collins’ Signature Style: Humor, Accessibility, and Profundity

“Litany” stands as a testament to Billy Collins’s widely acclaimed poetic style, embodying its characteristic elements of humor, accessibility, and underlying profundity. Collins is celebrated for his conversational and witty poetic style ¹, and “Litany” exemplifies this through its direct address to the beloved and its humorous, often self-deprecating, observations. The humor in the poem is not merely for entertainment; it serves as a sophisticated vehicle for conveying deeper understandings, a consistent hallmark of Collins’s body of work.¹

Collins’s poems are renowned for their accessibility, making complex ideas approachable without sacrificing intellectual depth.² Michael Donaghy aptly described Collins as a “rare amalgam of accessibility and intelligence”.² In “Litany,” the seemingly simple list structure and relatable imagery invite readers into the poem, while the underlying parody and critique of poetic language provide a rich layer of intellectual engagement.⁹ This ability to operate on multiple levels of understanding contributes to his broad appeal.

John Taylor observed that Collins’s poems “appear so transparent on the surface yet become so ambiguous, thought-provoking, or simply wise once the reader has peered into the depths”.² “Litany” perfectly illustrates this characteristic: its initial comedic effect gradually gives way to a nuanced commentary on love, identity, and the very nature of poetic comparison. Mary Jo Salter further noted that Collins’s originality stems from the “marriage of a loopy, occasionally surreal imagination … to an ordinary life observed in just a few ordinary words” ², a quality vividly evident in the poem’s blend of mundane objects with profound relational insights.

Central to Collins’s method is his “reader-conscious” approach. He explicitly states that he writes with “one reader in mind, someone who is in the room with me”.² His aim is to create a “hospitable tone at the beginning of a poem” to welcome the reader.² This approach is crucial to “Litany’s” success, as the humor and the satirical elements depend heavily on the reader’s active engagement and understanding of the poetic conventions being subverted. John Deming highlights how Collins “lets us access this place with alarming graciousness, and the openness of his voice probably helps account for his popularity”.²

Collins’s poems frequently explore everyday life, the acts of reading and writing, and the nature of poetry itself.¹ “Litany” serves as a prime example, using common objects and scenarios to comment on the grand tradition of love poetry and the effectiveness of metaphorical language. Collins described his work as reflecting an attempt to create a “logical, rational path through the day,” but that “the poet is willing to stop anywhere” to explore the “amazing set of distractions that we usually can’t afford to follow”.² This willingness to diverge from conventional thought and explore the unexpected is central to “Litany’s” unique charm and its ability to surprise and delight readers.

Collins’s “reader-conscious” approach is not merely a stylistic preference but a foundational element that allows “Litany” to achieve its dual purpose of humor and profound commentary. By cultivating a hospitable tone and accessible language ², Collins ensures that the reader is immediately drawn into the poem, making them receptive to the subtle satirical nuances. The humor, a key component of his wit ¹, then serves as the primary mechanism for critiquing the blazon tradition and the misuse of clichés.⁹ Without this accessible and witty surface, the deeper critique of poetic language and the nuanced exploration of identity would likely be lost on a broader audience. Furthermore, his ability to marry a “loopy, occasionally surreal imagination” with “ordinary life” ² allows him to imbue mundane objects (such as a teacup or an evening paper) with unexpected significance, transforming them into vehicles for both comedy and genuine understanding of the complexities of human relationships. Thus, Collins’s signature style is not just an aesthetic choice, but a functional imperative that allows “Litany” to be both entertaining and intellectually stimulating, contributing significantly to his widespread popularity and the poem’s enduring appeal.

VI. Beyond the Text: Reception and Enduring Appeal

“Litany” has resonated with audiences in diverse ways, highlighting its multifaceted nature and broad appeal. Collins himself frequently performs the poem, often providing a brief preamble that contextualizes it within the ancient tradition of seducing a lover through a series of comparisons. His readings are consistently met with audience laughter, confirming the poem’s intended comedic effect and its success in subverting poetic conventions.⁴

A particularly striking reception of the poem involves a reading by a three-year-old who had memorized it entirely.⁴ In this innocent rendition, the poem transcends its satirical intent, transforming into a “worshipful rhapsody” where the child experiences the world as “full of so many things!” that remind them of both the beloved and themselves.⁴ This interpretation, despite not fully grasping the underlying satire, underscores the poem’s inherent capacity to evoke wonder and a fundamental connection to the world, echoing the prayer-like origins of the word “litany” itself.

Collins’s level of fame is almost unprecedented in contemporary poetry, marked by consistently sold-out readings and a significant advance received when he changed publishers.² This widespread popularity is partly attributed to the “openness of his voice” and his evident concern for his readers.² “Litany,” by embodying Collins’s accessible yet profound style, contributes to his broader impact on the landscape of poetry. His work is widely credited with changing the relationship between poetry and modern readers, making it more approachable and relevant to contemporary life.³ The poem’s ability to blend humor with insightful social commentary, a characteristic consistently noted by critics regarding Collins’s work, allows it to resonate widely and deeply with diverse audiences.²

The contrasting receptions of “Litany”—Collins’s own humorous reading which emphasizes the satirical intent, versus the three-year-old’s “worshipful rhapsody” which interprets it as a celebration of the world’s abundance—reveal a profound aspect at the heart of the poem. While Collins meticulously crafts “Litany” as a witty critique of the blazon and clichéd poetic language ⁹, its accessible structure and “plentiful imagery” ⁴ allow for an alternative, innocent engagement. The child’s unburdened recitation, nearly understanding every word ⁴, transforms the satirical list into a genuine expression of wonder and connection to the world, echoing the prayer-like origin of the word “litany”.⁴ This duality implies that even a poem designed as a parody can, through its inherent linguistic qualities and accessible form, transcend its immediate satirical purpose to evoke authentic emotional and aesthetic responses. This broad appeal, spanning from sophisticated literary critique to simple appreciative wonder, is a testament to Collins’s unique ability to blend humor with underlying profundity, solidifying his unprecedented popularity and demonstrating the versatile power of poetry itself.

VII. Conclusion: The Enduring Charm of Collins’ “Litany”

“Litany” stands as a masterful example of Billy Collins’s poetic genius, skillfully blending humor, wit, and profound observation. The poem’s title itself serves as an ironic lens, signaling its satirical engagement with the ancient blazon tradition while simultaneously hinting at its deeper, almost reverential, capacity for cataloging the world’s wonders. Through a deliberate progression of contradictory, clichéd, and ultimately specific metaphors, Collins not only lampoons the logical inconsistencies of hyperbolic love poetry but also offers a subtle commentary on the art of poetic comparison, advocating for authenticity and specificity over generic grandiosity.

The dynamic interplay between the speaker and the beloved, characterized by playful negations and the assertion of distinct identities, redefines traditional romantic declarations. It portrays a love that is grounded in a specific, lived reality, accepting imperfections and celebrating individuality within a shared bond. This nuanced portrayal of relationship dynamics, conveyed through sarcastic yet affectionate metaphors, is a hallmark of Collins’s ability to explore complex human emotions with a light touch.

Ultimately, “Litany” is more than just a humorous poem; it is a significant contribution to contemporary poetry. It exemplifies Collins’s signature style—conversational, accessible, and deeply “reader-conscious”—which has broadened poetry’s appeal and changed its relationship with modern audiences. The poem’s ability to resonate on multiple levels, from satirical critique to innocent wonder, underscores its enduring charm and its testament to the power of language to both mock and celebrate, to dissect and connect. “Litany” solidifies Collins’s place as a poet who not only entertains but also subtly educates and profoundly moves his readers.

Works cited

1. www.poetryfoundation.org, accessed May 27, 2025, https://www.poetryfoundation.org/poets/billy-collins#:~:text=Dubbed%20%E2%80%9Cthe%20most%20popular%20poet,and%20writing%2C%20and%20poetry%20itself.
2. Billy Collins | The Poetry Foundation, accessed May 27, 2025, https://www.poetryfoundation.org/poets/billy-collins
3. Litany Summary and Study Guide | SuperSummary, accessed May 27, 2025, https://www.supersummary.com/litany/summary/
4. FHS Poem of the Day – Litany by Billy Collins – Francis Holland …, accessed May 27, 2025, https://www.fhs-sw1.org.uk/news/fhs-poem-of-the-day-litany-by-billy-collins/
5. “Litany” | Billy Collins – March 14, 2009 | Voca – The University of Arizona, accessed May 27, 2025, https://voca.arizona.edu/track/id/56614
6. Litany by Billy Collins | PDF | Poetry | Love – Scribd, accessed May 27, 2025, https://www.scribd.com/document/444340931/Litany-by-Billy-Collins
7. Litany | Academy of American Poets – Poets.org, accessed May 27, 2025, https://poets.org/glossary/litany
8. [TW] [Poem] Litany by Gregory Orr : r/Poetry – Reddit, accessed May 27, 2025, https://www.reddit.com/r/Poetry/comments/vzyhhu/tw_poem_litany_by_gregory_orr/
9. Litany Poem Analysis | SuperSummary, accessed May 27, 2025, https://www.supersummary.com/litany/analysis/
10. “Litany,” by Billy Collins | Presbydestrian, accessed May 27, 2025, https://presbydestrian.wordpress.com/2012/03/20/litany-by-billy-collin/