Poetry Corner

<p>In this monody the author bewails a learned friend, unfortunately drowned in
his passage from Chester on the Irish Seas, 1637; and by occasion foretells
the ruin of our corrupted clergy, then in their height. </p>

<p>Yet once more, O ye laurels, and once more,
Ye myrtles brown, with ivy never sere,
I come to pluck your berries harsh and crude,
And with forced fingers rude
Shatter your leaves before the mellowing year.
Bitter constraint, and sad occasion dear,
Compels me to disturb your season due;
For Lycidas is dead, dead ere his prime,
Young Lycidas, and hath not left his peer.
Who would not sing for Lycidas? He knew
Himself to sing, and build the lofty rhyme.
He must not float upon his wat’ry bier
Unwept, and welter to the parching wind,
Without the meed of some melodious tear.
Begin then, Sisters of the sacred well,
That from beneath the seat of Jove doth spring,
Begin, and somewhat loudly sweep the string.
Hence with denial vain, and coy excuse,
So may some gentle Muse
With lucky words favour my destined urn,
And as he passes turn
And bid fair peace be to my sable shroud.
For we were nursed upon the selfsame hill,
Fed the same flock by fountain, shade, and rill.
Together both, ere the high lawns appeared
Under the opening eyelids of the morn,
We drove a-field, and both together heard
What time the gray-fly winds her sultry horn,
Batt’ning our flocks with the fresh dews of night,
Oft till the star that rose, at ev’ning, bright
Toward heav’n’s descent had sloped his west’ring wheel.
Meanwhile the rural ditties were not mute,
Tempered to th’ oaten flute;
Rough Satyrs danced, and Fauns with cloven heel
From the glad sound would not be absent long;
And old Damoetas loved to hear our song.
But O! the heavy change now thou art gone,
Now thou art gone and never must return!
Thee, Shepherd, thee the woods, and desert caves,
With wild thyme and the gadding vine o’ergrown,
And all their echoes mourn.
The willows, and the hazel copses green,
Shall now no more be seen
Fanning their joyous leaves to thy soft lays.
As killing as the canker to the rose,
Or taint-worm to the weanling herds that graze,
Or frost to flow’rs, that their gay wardrobe wear,
When first the white-thorn blows;
Such, Lycidas, thy loss to shepherd’s ear.
Where were ye, Nymphs, when the remorseless deep
Closed o’er the head of your loved Lycidas?
For neither were ye playing on the steep
Where your old bards, the famous Druids, lie,
Nor on the shaggy top of Mona high,
Nor yet where Deva spreads her wizard stream.
Ay me, I fondly dream!
Had ye been there, for what could that have done?
What could the Muse herself that Orpheus bore,
The Muse herself for her enchanting son,
Whom universal nature did lament,
When, by the rout that made the hideous roar,
His gory visage down the stream was sent,
Down the swift Hebrus to the Lesbian shore?
Alas! what boots it with uncessant care
To tend the homely slighted shepherd’s trade,
And strictly meditate the thankless Muse?
Were it not better done as others use,
To sport with Amaryllis in the shade,
Or with the tangles of Neaera’s hair?
Fame is the spur that the clear spirit doth raise
(That last infirmity of noble mind)
To scorn delights, and live laborious days;
But the fair guerdon when we hope to find,
And think to burst out into sudden blaze,
Comes the blind Fury with th’ abhorred shears,
And slits the thin-spun life. “But not the praise,”
Phoebus replied, and touched my trembling ears:
“Fame is no plant that grows on mortal soil,
Nor in the glist’ring foil
Set off to the world, nor in broad rumour lies,
But lives and spreads aloft by those pure eyes
And perfect witness of all-judging Jove;
As he pronounces lastly on each deed,
Of so much fame in heav’n expect thy meed.”
O fountain Arethuse, and thou honoured flood,
Smooth-sliding Mincius, crowned with vocal reeds,
That strain I heard was of a higher mood;
But now my oat proceeds,
And listens to the herald of the sea
That came in Neptune’s plea.
He asked the waves, and asked the felon winds,
What hard mishap hath doomed this gentle swain?
And questioned every gust of rugged wings
That blows from off each beaked promontory:
They knew not of his story,
And sage Hippotades their answer brings,
That not a blast was from his dungeon strayed;
The air was calm, and on the level brine
Sleek Panope with all her sisters played.
It was that fatal and perfidious bark,
Built in th’ eclipse, and rigged with curses dark,
That sunk so low that sacred head of thine.
Next Camus, reverend sire, went footing slow,
His mantle hairy, and his bonnet sedge,
Inwrought with figures dim, and on the edge
Like to that sanguine flower inscribed with woe.
“Ah! Who hath reft (quoth he) my dearest pledge?”
Last came, and last did go,
The Pilot of the Galilean lake.
Two massy keys he bore of metals twain,
(The golden opes, the iron shuts amain)
He shook his mitred locks, and stern bespake
“How well could I have spared for thee, young swain,
Enow of such as for their bellies’ sake
Creep, and intrude, and climb into the fold!
Of other care they little reckoning make
Than how to scramble at the shearers’ feast,
And shove away the worthy bidden guest.
Blind mouths! that scarce themselves know how to hold
A sheep-hook, or have learned aught else the least
That to the faithful herdman’s art belongs!
What recks it them? What need they? They are sped;
And when they list, their lean and flashy songs
Grate on their scrannel pipes of wretched straw;
The hungry sheep look up, and are not fed,
But swoll’n with wind, and the rank mist they draw,
Rot inwardly, and foul contagion spread;
Besides what the grim wolf with privy paw
Daily devours apace, and nothing said;
But that two-handed engine at the door
Stands ready to smite once, and smite no more.”
Return, Alpheus, the dread voice is past
That shrunk thy streams; return, Sicilian Muse,
And call the vales, and bid them hither cast
Their bells and flow’rets of a thousand hues.
Ye valleys low, where the mild whispers use
Of shades, and wanton winds, and gushing brooks
On whose fresh lap the swart star sparely looks,
Throw hither all your quaint enamelled eyes,
That on the green turf suck the honeyed show’rs,
And purple all the ground with vernal flow’rs.
Bring the rathe primrose that forsaken dies,
The tufted crow-toe, and pale jessamine,
The white pink, and the pansy freaked with jet,
The glowing violet,
The musk-rose, and the well-attired woodbine,
With cowslips wan that hang the pensive head,
And every flower that sad embroidery wears.
Bid amaranthus all his beauty shed,
And daffadillies fill their cups with tears,
To strew the laureate hearse where Lycid lies.
For so to interpose a little ease,
Let our frail thoughts dally with false surmise.
Ay me! whilst thee the shores and sounding seas
Wash far away, where’er thy bones are hurled,
Whether beyond the stormy Hebrides,
Where thou perhaps under the whelming tide
Visit’st the bottom of the monstrous world;
Or whether thou, to our moist vows denied,
Sleep’st by the fable of Bellerus old,
Where the great vision of the guarded mount
Looks toward Namancos and Bayona’s hold.
Look homeward, Angel, now, and melt with ruth;
And, O ye dolphins, waft the hapless youth.
Weep no more, woeful shepherds, weep no more,
For Lycidas your sorrow is not dead,
Sunk though he be beneath the wat’ry floor.
So sinks the day-star in the ocean bed,
And yet anon repairs his drooping head,
And tricks his beams, and with new-spangled ore
Flames in the forehead of the morning sky:
So Lycidas sunk low, but mounted high,
Through the dear might of Him that walked the waves,
Where, other groves and other streams along,
With nectar pure his oozy locks he laves,
And hears the unexpressive nuptial song,
In the blest kingdoms meek of joy and love.
There entertain him all the saints above,
In solemn troops, and sweet societies,
That sing, and singing in their glory move,
And wipe the tears for ever from his eyes.
Now, Lycidas, the shepherds weep no more;
Henceforth thou art the genius of the shore,
In thy large recompense, and shalt be good
To all that wander in that perilous flood.
Thus sang the uncouth swain to th’ oaks and rills,
While the still morn went out with sandals grey;
He touched the tender stops of various quills,
With eager thought warbling his Doric lay:
And now the sun had stretched out all the hills,
And now was dropped into the western bay.
At last he rose, and twitched his mantle blue:
Tomorrow to fresh woods, and pastures new.</p>

<p>“Relinquunt Omnia Servare Rem Publicam”</p>

<p>The old South Boston Aquarium stands
in a Sahara of snow now. Its broken windows are boarded.
The bronze weathervane cod has lost half its scales.
The airy tanks are dry.</p>

<p>Once my nose crawled like a snail on the glass;
my hand tingled
to burst the bubbles
drifting from the noses of the cowed, compliant fish.</p>

<p>My hand draws back. I often sigh still
for the dark downward and vegetating kingdom
of the fish and reptile. One morning last March,
I pressed against the new barbed and galvanized </p>

<p>fence on the Boston Common. Behind their cage,
yellow dinosaur steamshovels were grunting
as they cropped up tons of mush and grass
to gouge their underworld garage.</p>

<p>Parking spaces luxuriate like civic
sandpiles in the heart of Boston.
A girdle of orange, Puritan-pumpkin colored girders
braces the tingling Statehouse, </p>

<p>shaking over the excavations, as it faces Colonel Shaw
and his bell-cheeked Negro infantry
on St. Gaudens’ shaking Civil War relief,
propped by a plank splint against the garage’s earthquake.</p>

<p>Two months after marching through Boston,
half the regiment was dead;
at the dedication,
William James could almost hear the bronze Negroes breathe.</p>

<p>Their monument sticks like a fishbone
in the city’s throat.
Its Colonel is as lean
as a compass-needle.</p>

<p>He has an angry wrenlike vigilance,
a greyhound’s gently tautness;
he seems to wince at pleasure,
and suffocate for privacy.</p>

<p>He is out of bounds now. He rejoices in man’s lovely,
peculiar power to choose life and die—
when he leads his black soldiers to death,
he cannot bend his back.</p>

<p>On a thousand small town New England greens,
the old white churches hold their air
of sparse, sincere rebellion; frayed flags
quilt the graveyards of the Grand Army of the Republic. </p>

<p>The stone statues of the abstract Union Soldier
grow slimmer and younger each year—
wasp-waisted, they doze over muskets
and muse through their sideburns . . .</p>

<p>Shaw’s father wanted no monument
except the ditch,
where his son’s body was thrown
and lost with his ■■■■■■■■■■■■■■

<p>The ditch is nearer.
There are no statues for the last war here;
on Boylston Street, a commercial photograph
shows Hiroshima boiling</p>

<p>over a Mosler Safe, the “Rock of Ages”
that survived the blast. Space is nearer.
When I crouch to my television set,
the drained faces of Negro school-children rise like balloons.</p>

<p>Colonel Shaw
is riding on his bubble,
he waits
for the blessèd break.</p>

<p>The Aquarium is gone. Everywhere,
giant finned cars nose forward like fish;
a savage servility
slides by on grease.</p>

<p>The Windhover by Gerard Manley Hopkins </p>

<pre><code> To Christ our Lord
</code></pre>

<p>I CAUGHT this morning morning’s minion, king-<br>
dom of daylight’s dauphin, dapple-dawn-drawn Falcon, in his riding<br>
Of the rolling level underneath him steady air, and striding<br>
High there, how he rung upon the rein of a wimpling wing<br>
In his ecstasy! then off, off forth on swing, 5
As a skate’s heel sweeps smooth on a bow-bend: the hurl and gliding<br>
Rebuffed the big wind. My heart in hiding<br>
Stirred for a bird,—the achieve of; the mastery of the thing! </p>

<p>Brute beauty and valour and act, oh, air, pride, plume, here<br>
Buckle! AND the fire that breaks from thee then, a billion<br>
Times told lovelier, more dangerous, O my chevalier! </p>

<p>No wonder of it: shéer plód makes plough down sillion<br>
Shine, and blue-bleak embers, ah my dear,<br>
Fall, gall themselves, and gash gold-vermillion.</p>

<p>Don’t worry, spiders,
I keep house
casually.</p>

<hr>

<pre><code> In this world
</code></pre>

<p>we walk on the roof of hell,
gazing at flowers. </p>

<hr>

<pre><code> This world of dew
</code></pre>

<p>is a world of dew,
And yet, and yet-- </p>

<p>For more: <a href=“http://www.augustpoetry.org/poets/Issa.htm[/url]”>http://www.augustpoetry.org/poets/Issa.htm&lt;/a&gt;&lt;/p&gt;

<p>All of these are so great–thank you for posting. I’m impressed with the level of attachment. Don’t worry spiders…love it.</p>

<p>Ballet girl–can you post your fave bits rather than such long poems? Mods get grumpy if posts take up too much bandwidth. thanks!</p>

<p>Thanks cheers,</p>

<p>I will do. I’ve been feeling a bit a badly about hogging bandwidth (both mental and physical) on the thread with my blizzard of postings. I was unable to sleep the evening before the SATs and, in an anxious state, got stuck on this wonderful thread. Mea culpa. </p>

<p>A couple of years ago, I took a great English course where we looked at both the classic elergies in the English language as well as the modern ones. Wallace Steven called death the “mother of beauty” and death has been perhaps the favorite muse of nearly all poets. Here’s another great one by John Crowe Ransom:</p>

<p>Bells For John Whiteside’s Daughter</p>

<p>There was such speed in her little body,
And such lightness in her footfall,
It is no wonder her brown study Astonishes us all </p>

<p>Her wars were bruited in our high window.
We looked among orchard trees and beyond
Where she took arms against her shadow,
Or harried unto the pond </p>

<p>The lazy geese, like a snow cloud
Dripping their snow on the green grass,
Tricking and stopping, sleepy and proud,
Who cried in goose, Alas, </p>

<p>For the tireless heart within the little
Lady with rod that made them rise
From their noon apple-dreams and scuttle
Goose-fashion under the skies! </p>

<p>But now go the bells, and we are ready,
In one house we are sternly stopped
To say we are vexed at her brown study,
Lying so primly propped.</p>

<p>All I can say is, bless the teacher who introduced teenagers to that poetry.</p>

<p>Ah, I had just this debate with a best friend who is a Franciscan brother who did his dissertation on Dickinson. About 25 years ago he made the statement that there is no fitter subject for poetry than death. We were taking a long walk from our campus to the quaintest book store I have ever been in. I had to disagree. I thought then, as I think now, that love is even fitter.</p>

<p>“Death thought shalt die.”</p>

<p>Mythmon,</p>

<p>Isn’t it almost always the case that they inform each other? Not separate topics but intimately related in a curious yin/yang, like partners in a dance! Doesn’t Donne nails it in this poem, where the separation, the parting “expands” the couple? </p>

<p>A VALEDICTION FORBIDDING MOURNING</p>

<p>AS virtuous men pass mildly away,<br>
And whisper to their souls to go,<br>
Whilst some of their sad friends do say,
“Now his breath goes,” and some say, “No.” </p>

<p>So let us melt, and make no noise,<br>
No tear-floods, nor sigh-tempests move ;
'Twere profanation of our joys<br>
To tell the laity our love. </p>

<p>Moving of th’ earth brings harms and fears ;
Men reckon what it did, and meant ;<br>
But trepidation of the spheres,<br>
Though greater far, is innocent. </p>

<p>Dull sublunary lovers’ love<br>
—Whose soul is sense—cannot admit<br>
Of absence, 'cause it doth remove<br>
The thing which elemented it. </p>

<p>But we by a love so much refined,
That ourselves know not what it is,<br>
Inter-assurèd of the mind,<br>
Care less, eyes, lips and hands to miss. </p>

<p>Our two souls therefore, which are one,<br>
Though I must go, endure not yet<br>
A breach, but an expansion,<br>
Like gold to aery thinness beat. </p>

<p>If they be two, they are two so<br>
As stiff twin compasses are two ;<br>
Thy soul, the fix’d foot, makes no show<br>
To move, but doth, if th’ other do. </p>

<p>And though it in the centre sit,<br>
Yet, when the other far doth roam,<br>
It leans, and hearkens after it,<br>
And grows erect, as that comes home. </p>

<p>Such wilt thou be to me, who must,
Like th’ other foot, obliquely run ;
Thy firmness makes my circle just,<br>
And makes me end where I begun.</p>

<p>Re love and death in poetry, the Oxford English Dictionary definition of “die” offers this:</p>

<p>

</p>

<p>epistrophy,</p>

<p>Well done! Et en francais, la petite mort!</p>

<p>Other good poetry topics: sorrow, longing, beauty.</p>

<p>But as Shakespeare insistantly points out in his sonnets, though the subject of the poem may die, the metaphor lives.</p>

<p>“Dead once dead, there’s no more dying then.”</p>

<p>Here’s another one:</p>

<p>Musee des Beaux Arts
W. H. Auden</p>

<p>About suffering they were never wrong,
The Old Masters; how well, they understood
Its human position; how it takes place
While someone else is eating or opening a window or just walking dully along;
How, when the aged are reverently, passionately waiting
For the miraculous birth, there always must be
Children who did not specially want it to happen, skating
On a pond at the edge of the wood:
They never forgot
That even the dreadful martyrdom must run its course
Anyhow in a corner, some untidy spot
Where the dogs go on with their doggy life and the torturer’s horse
Scratches its innocent behind on a tree.
In Breughel’s Icarus,* for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may
Have heard the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
Water; and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky,
had somewhere to get to and sailed calmly on. </p>

<p>(*helps to look at the painting)</p>

<p>By the way, my first name appears in several of these selections as a word. Not telling. Perhaps I was destined to be a poet.</p>

<p>LOL. Myrtle?
Ivy?
Laurel?
Fern?
Violet?
Star?</p>

<p>Or last name: Wood, Gold?</p>

<p>September 1, 1939 WH Auden (last two stanzas)</p>

<p>All I have is a voice
To undo the folded lie,
The romantic lie in the brain
Of the sensual man-in-the-street
And the lie of Authority
Whose buildings grope the sky:
There is no such thing as the State
And no one exists alone;
Hunger allows no choice
To the citizen or the police;
We must love one another or die.</p>

<p>Defenceless under the night
Our world in stupor lies;
Yet, dotted everywhere,
Ironic points of light
Flash out wherever the Just
Exchange their messages:
May I, composed like them
Of Eros and of dust,
Beleaguered by the same
Negation and despair,
Show an affirming flame.</p>

<p>(POEM) (CHICAGO) (1967)</p>

<p>If you remember this poem after reading it
Please go to Lincoln Park the corner of Dickens Street and sit
On the bench there where M. and I kissed one night for a few minutes
It was wonderful even if you forget</p>

<hr>

<p>WRONG</p>

<p>I wish to be misunderstood;
that is,
to be understood from your perspective.</p>

<hr>

<p>THE CLOSET
(. . .after my Mother’s death)</p>

<p>Here not long enough after the hospital happened
I find her closet lying empty and stop my play
And go in and crane up at three blackwire hangers
Which quiver, airy, released. They appear to enjoy</p>

<p>Their new distance, cognizance born of the absence
Of anything else. The closet has been cleaned out
Full-flush as surgeries where the hangers could be
Amiable scalpels though they just as well would be</p>

<p>Themselves, in basements, glovelessly scraping uteri
But, here, pure, transfigured heavenward, they’re
Birds, whose wingspans expand by excluding me. Their
Range is enlarged by loss. They’d leave buzzards</p>

<p>Measly as moths: and the hatshelf is even higher!<br>
As the sky over a prairie, an undotted desert where
Nothing can swoop sudden, crumple in secret. I’ve fled
At ambush, tag, age: six, must I face this, can</p>

<p>I have my hide-and-seek hole back now please, the
Clothes, the thicket of shoes, where is it? Only
The hangers are at home here. Come heir to this
Rare element, fluent, their skeletal grace sings</p>

<p>Of the ease with which they let go the dress, slip,
Housecoat or blouse, so absolvingly. Free, they fly
Trim, triangular, augurs leapt ahead from some geometric
God who soars stripped (of flesh, it is said): catnip </p>

<p>To a brat placated by model airplane kits kids
My size lack motorskills for, I wind up all glue-scabbed,
Pawing goo-goo fingernails, glaze skins fun to peer in as
Frost-i-glass doors. . . But the closet has no windows.</p>

<p>Opaque or sheer: I must shut my eyes, shrink within
To peep into this wall. Soliciting sleep I’ll dream
Mother spilled and cold, unpillowed, the operating-
Table cracked to goad delivery: its stirrups slack,</p>

<p>Its forceps closed: by it I’ll see mobs of obstetrical<br>
Personnel kneel proud, congratulatory, cooing<br>
And oohing and hold the dead infant up to the dead<br>
Woman’s face as if for approval, the prompted </p>

<p>Beholding, tears, a zoomshot kiss. White-masked<br>
Doctors and nurses patting each other on the back,<br>
Which is how in the Old West a hangman, if<br>
He was good, could gauge the heft of his intended. . . </p>

<p>Awake, the hangers are sharper, knife-‘n’-slice, I jump<br>
Helplessly to catch them to twist them clear,<br>
Mis-shape them whole, sail them across the small air<br>
Space of the closet. I shall find room enough here </p>

<p>By excluding myself; by excluding myself, I’ll grow.</p>

<hr>

<p>For more: <a href=“http://billknott.typepad.com/billknott/[/url]”>http://billknott.typepad.com/billknott/&lt;/a&gt;&lt;/p&gt;

<p>mommusic: It’s in your list.</p>