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A Route of Evanescence -- Emily Dickinson

       
(Poem #174) A Route of Evanescence
 A Route of Evanescence
 With a revolving Wheel--
 A Resonance of Emerald--
 A Rush of Cochineal--
 And every Blossom on the Bush
 Adjusts its tumbled Head--
 The mail from Tunis, probably,
 An easy Morning's Ride--
-- Emily Dickinson
Like a minimalist painting, today's poem captures the essence of a scene
with a few, well chosen images. The fleeting blur of a train rushing by is
beautifully evoked by the almost fragmentary snapshots, gradually building
up into more complete images.

There's not really that much to say about it - you might like to compare it
to Stevenson's 'From a Railway Carriage'[1], a rather more detailed
treatment of the same theme.

[1] poem #84

Glossary:

  evanescence: The quality of being evanescent; tendency to vanish away.
  cochineal: The colour of cochineal-dye, scarlet.

Dickinson-related stuff: poem #92

Hoochie Coochie Man -- Willie Dixon

From a modern-day minstrel...
(Poem #173) Hoochie Coochie Man
Gypsy woman told my mother
Before I was born
She said "You got a boy-child coming,
Gonna be a son-of-a-gun
He gonna make pretty women
Jump and shout
And the world's gonna know
What's it all about

    Don't you know what I'm saying!
    Yeah, everybody knows I'm him
    I said I'm your hoochie coochie man
    You'd better believe I'm him!

I've got a black cat bone
I've got a mojo too
I've got a little bottle of Johnny confidence
I'm gonna mess with you
Hey! I'll pick you up
Lead you by the hand
And the world's gonna know
I'm your hoochie coochie man

    Don't you know what I'm saying!
    Yeah! Every body knows I'm him!
    Said I'm your hoochie coochie man
    You'd better believe I'm him!

On the seventh hour
Of the seventh day
Of the seventh month
Seven black girls say
He was born for good luck
And you will see
I got seven hundred dollars, baby,
Don't you mess with me!

    Don't you know what I'm saying!
    Yeah! Every body knows I'm him!
    Said I'm your hoochie coochie man
    You'd better believe I'm him!
-- Willie Dixon
Go to a music store and pick up virtually _any_ blues compilation;
chances are, you'll find that half the songs were written by Willie
Dixon. Classics such as today's, errm, 'poem' (Ok, so I'm stretching
definitions a little bit. I still think the blues is poetry, though),
"Little Red Rooster", "Spoonful", "Back-door Man", "Evil"... the list of
wonderful songs penned by the bass player from Chicago just goes on and
on. Only a handful of people (in the history of popular music) have been
as influential as Dixon; only a handful have been as _good_.

thomas.

As usual, the All-Music Guide has the most comprehensive info on the
net, including this

[Biographical essay]

Willie Dixon's life and work was virtually an embodiment of the progress
of the blues, from an accidental creation of the descendants of freed
slaves to a recognized and vital part of America's musical heritage.
That Dixon was one of the first professional blues songwriters to
benefit in a serious, material way -- and that he had to fight to do it
-- from his work also made him an important symbol of the injustice that
still informs the music industry, even at the end of this century. A
producer, songwriter, bassist and singer, he helped Muddy Waters,
Howlin' Wolf, Little Walter and others find their most commercially
successful voices...

... Dixon's real recognition as a songwriter began with Muddy Waters'
recording of "Hoochie Coochie Man." The success of that single, "Evil"
by Howlin' Wolf, and "My Babe" by Little Walter saw Dixon established as
Chess's most reliable tunesmith, and the Chess brothers continually
pushed Dixon's songs on their artists. In addition to writing songs,
Dixon continued as bassist and recording manager of many of the Chess
label's recording sessions, including those by Lowell Fulson, Bo Diddley
and Otis Rush...

... During the mid-'60s, [Dixon] began to see a growing interest in his
songwriting from the British rock bands that he saw while in London --
his music was getting covered regularly by artists like the Rolling
Stones and the Yardbirds, and when he visited England, he even found
himself cajoled into presenting his newest songs to their managements.
Back at Chess, Howlin' Wolf and Muddy Waters continued to perform
Dixon's songs, as did newer artists such as Koko Taylor, who had her own
hit with "Wang Dang Doodle."...

... By [the 1980s]Dixon was regarded as something of an elder statesman,
composer, and spokesperson of American blues. Dixon had suffered from
increasingly poor health in recent years, and lost a leg to diabetes
several years earlier, which didn't slow him down very much. He died
peacefully in his sleep early in 1992.

    -- Bruce Eder, All-Music Guide

and this piece of

[Critical Acclaim]

Willie Dixon will go down in blues history as, if not its most famous
composer, certainly one of its most notable and most popular. While more
lip service is certainly paid to the song catalogs of Robert Johnson and
Muddy Waters (both great, but both only a drop in the bucket when
compared to Willie's voluminous output), Dixon holds another unique
place, that of a songwriter who was also a performer, but a songwriter
first and foremost. In this regard, Dixon had a lot closer kinship with
the Tin Pan Alley way of doing things, where singers were singers only
and songwriters furnished the commercial ammunition. That Willie not
only a) had the inclination to apply this same working system to the
blues and b) find a workplace in Chess Records that allowed him to pitch
the songs but arrange and produce these sessions to final fruition is
one of those blues as a commercial force equations that supposedly never
come to bear in a music so noble and raw in its emotions. But that was,
and still is, the beauty of Dixons work. He helped popularize and
mainstream the blues from a back porch, back alley, fairly disreputable
form of music to something acceptable and welcomed on concert stages
worldwide. It may have taken several liberal adaptions of his songs by
various White musicians for them to become the standards that we now
know them to be, but the musical fabric of the blues would be
unimaginable without songs like "Back Door Man," "Hoochie Coochie Man,"
"Spoonful," "Wang Dang Doodle," "I Just Want To Make Love To You," and
"Little Red Rooster." The structures and subject matter to his songs are
exactly what gives them their universality; they are both the blues and
about the blues. They draw on strong universal themes yet keep their
playlets in the African-American community with their colloquialisms and
slang terminology; certainly the party revelers in "Wang Dang Doodle"
are like few parties held in most Caucasian neighborhoods. Yet Dixons
description of the party in that song makes it one thats accessible to
everyone from all over the world; everybody can pitch a wang dang doodle
all night long. Willie Dixon's songs live inside the voices of a million
singers, of all colors and races, simply because his music speaks to
everybody who hears his basic, homespun message.

        -- Cub Koda, All-Music Guide

[Trivia]

Dixon once won the Illinois State Golden Gloves Heavyweight
Championship. He might've been a successful boxer, but he turned to
music instead, thanks to Leonard "Baby Doo" Caston, a guitarist who had
seen Dixon at the gym where he worked out and occasionally sang with
him.

[Links]

Lots of them. Lots and lots and lots. Rather than wasting your time
surfing the net, I suggest you go out and buy some of the man's music.

Paul Revere's Ride -- Henry Wadsworth Longfellow

Fixing a rather startling omission in the poet list...
(Poem #172) Paul Revere's Ride
 Listen my children and you shall hear
 Of the midnight ride of Paul Revere,
 On the eighteenth of April, in Seventy-five;
 Hardly a man is now alive
 Who remembers that famous day and year.

 He said to his friend, "If the British march
 By land or sea from the town to-night,
 Hang a lantern aloft in the belfry arch
 Of the North Church tower as a signal light,--
 One if by land, and two if by sea;
 And I on the opposite shore will be,
 Ready to ride and spread the alarm
 Through every Middlesex village and farm,
 For the country folk to be up and to arm."

 Then he said "Good-night!" and with muffled oar
 Silently rowed to the Charlestown shore,
 Just as the moon rose over the bay,
 Where swinging wide at her moorings lay
 The Somerset, British man-of-war;
 A phantom ship, with each mast and spar
 Across the moon like a prison bar,
 And a huge black hulk, that was magnified
 By its own reflection in the tide.

 Meanwhile, his friend through alley and street
 Wanders and watches, with eager ears,
 Till in the silence around him he hears
 The muster of men at the barrack door,
 The sound of arms, and the tramp of feet,
 And the measured tread of the grenadiers,
 Marching down to their boats on the shore.

 Then he climbed the tower of the Old North Church,
 By the wooden stairs, with stealthy tread,
 To the belfry chamber overhead,
 And startled the pigeons from their perch
 On the sombre rafters, that round him made
 Masses and moving shapes of shade,--
 By the trembling ladder, steep and tall,
 To the highest window in the wall,
 Where he paused to listen and look down
 A moment on the roofs of the town
 And the moonlight flowing over all.

 Beneath, in the churchyard, lay the dead,
 In their night encampment on the hill,
 Wrapped in silence so deep and still
 That he could hear, like a sentinel's tread,
 The watchful night-wind, as it went
 Creeping along from tent to tent,
 And seeming to whisper, "All is well!"
 A moment only he feels the spell
 Of the place and the hour, and the secret dread
 Of the lonely belfry and the dead;
 For suddenly all his thoughts are bent
 On a shadowy something far away,
 Where the river widens to meet the bay,--
 A line of black that bends and floats
 On the rising tide like a bridge of boats.

 Meanwhile, impatient to mount and ride,
 Booted and spurred, with a heavy stride
 On the opposite shore walked Paul Revere.
 Now he patted his horse's side,
 Now he gazed at the landscape far and near,
 Then, impetuous, stamped the earth,
 And turned and tightened his saddle girth;
 But mostly he watched with eager search
 The belfry tower of the Old North Church,
 As it rose above the graves on the hill,
 Lonely and spectral and sombre and still.
 And lo! as he looks, on the belfry's height
 A glimmer, and then a gleam of light!
 He springs to the saddle, the bridle he turns,
 But lingers and gazes, till full on his sight
 A second lamp in the belfry burns.

 A hurry of hoofs in a village street,
 A shape in the moonlight, a bulk in the dark,
 And beneath, from the pebbles, in passing, a spark
 Struck out by a steed flying fearless and fleet;
 That was all! And yet, through the gloom and the light,
 The fate of a nation was riding that night;
 And the spark struck out by that steed, in his flight,
 Kindled the land into flame with its heat.
 He has left the village and mounted the steep,
 And beneath him, tranquil and broad and deep,
 Is the Mystic, meeting the ocean tides;
 And under the alders that skirt its edge,
 Now soft on the sand, now loud on the ledge,
 Is heard the tramp of his steed as he rides.

 It was twelve by the village clock
 When he crossed the bridge into Medford town.
 He heard the crowing of the cock,
 And the barking of the farmer's dog,
 And felt the damp of the river fog,
 That rises after the sun goes down.

 It was one by the village clock,
 When he galloped into Lexington.
 He saw the gilded weathercock
 Swim in the moonlight as he passed,
 And the meeting-house windows, black and bare,
 Gaze at him with a spectral glare,
 As if they already stood aghast
 At the bloody work they would look upon.

 It was two by the village clock,
 When he came to the bridge in Concord town.
 He heard the bleating of the flock,
 And the twitter of birds among the trees,
 And felt the breath of the morning breeze
 Blowing over the meadow brown.
 And one was safe and asleep in his bed
 Who at the bridge would be first to fall,
 Who that day would be lying dead,
 Pierced by a British musket ball.

 You know the rest. In the books you have read
 How the British Regulars fired and fled,---
 How the farmers gave them ball for ball,
 From behind each fence and farmyard wall,
 Chasing the redcoats down the lane,
 Then crossing the fields to emerge again
 Under the trees at the turn of the road,
 And only pausing to fire and load.

 So through the night rode Paul Revere;
 And so through the night went his cry of alarm
 To every Middlesex village and farm,---
 A cry of defiance, and not of fear,
 A voice in the darkness, a knock at the door,
 And a word that shall echo for evermore!
 For, borne on the night-wind of the Past,
 Through all our history, to the last,
 In the hour of darkness and peril and need,
 The people will waken and listen to hear
 The hurrying hoof-beats of that steed,
 And the midnight message of Paul Revere.
-- Henry Wadsworth Longfellow
I have no idea why it took so long to get around to Longfellow, since I do
enjoy his work. You'll definitely see more of him, but I thought I'd start
here with one of his most famous pieces.

This beautifully-written poem has all the elements that characterize good
narrative verse - a flowing metre, some excellent and evocative descriptive
bits[1] and above all a good story. Ironically enough, the very thoroughness
with which it has ingrained itself into the public consciousness have given
the lie to the opening verse - nearly every American now alive, and a good
part of the rest of the English speaking world, 'remember that famous day
and year', or at least the events that took place thereupon.

[1] By far the main reason I like the poem - every passing scene is vividly
described, yet so skilfully that nowhere is the momentum of the narrative
broken. Description and action blend together in a smoothly unfolding
tapestry of images that perfectly parallels the course of the ride.

m.

Biography and Assessment:

There's an online biography at
<[broken link] http://ikarus.pclab-phil.uni-kiel.de/daten/anglist/PoetryProject/longfellow.htm>

A few relevant passages from the EB:

Longfellow, Henry Wadsworth

 b. Feb. 27, 1807, Portland, Mass. [now in Maine], U.S.
 d. March 24, 1882, Cambridge, Mass.

 the most popular American poet in the 19th century.

[..]

The Tales of a Wayside Inn, modeled roughly on Geoffrey Chaucer's Canterbury
Tales and published in 1863, reveals his narrative gift. The first poem,
"Paul Revere's Ride," became a national favourite. Written in anapestic
tetrameter meant to suggest the galloping of a horse, this folk ballad
recalls a hero of the American Revolution and his famous "midnight ride" to
warn the Americans about the impending British raid on Concord, Mass. Though
its account of Revere's ride is historically inaccurate, the poem created an
American legend. Longfellow published in 1872 what he intended to be his
masterpiece, Christus: A Mystery, a trilogy dealing with Christianity from
its beginning. He followed this work with two fragmentary dramatic poems,
"Judas Maccabaeus" and "Michael Angelo." But his genius was not dramatic, as
he had demonstrated earlier in The Spanish Student (1843). Long after his
death in 1882, however, these neglected later works were seen to contain
some of his most effective writing.

During his lifetime Longfellow was loved and admired both at home and
abroad. In 1884 he was honoured by the placing of a memorial bust in Poets'
Corner of Westminster Abbey in London, the first American to be so
recognized. Sweetness, gentleness, simplicity, and a romantic vision shaded
by melancholy are the characteristic features of Longfellow's poetry. He
possessed great metrical skill, but he failed to capture the American spirit
like his great contemporary Walt Whitman, and his work generally lacks
emotional depth and imaginative power. Some years after Longfellow's death a
violent reaction set in against his verse as critics dismissed his
conventional high-minded sentiments and the gentle strain of Romanticism
that he had made so popular. This harsh critical assessment, which tried to
reduce him to the status of a mere hearthside rhymer, was perhaps as
unbalanced as the adulation he had received during his lifetime. Some of
Longfellow's sonnets and other lyrics are still among the finest in American
poetry, and Hiawatha, "The Wreck of the Hesperus," Evangeline, and "Paul
Revere's Ride" have become inseparable parts of the American heritage.
Longfellow's immense popularity helped raise the status of poetry in his
country, and he played an important part in bringing European cultural
traditions to American audiences.

I am Raftery the poet -- Anthony Raftery

This week's theme - 'Songs of Myself', so to speak.
(Poem #171) I am Raftery the poet
I am Raftery the poet.
Full of hope and love.
My eyes without sight,
My mind without torment.

Going west on my journey
By the light of my heart,
Tired and weary
To the end of the road.

Behold me now
With my back to the wall.
Playing music
To empty pockets.
-- Anthony Raftery
Early 19th century.
Translated by James Stephens.

I've always been fascinated by the bardic tradition and, indeed, by oral
poetry in general [1]. Perhaps it's because wandering poets (minstrels,
troubadours, jongleurs, call them what you will) tend to be more in
touch with the common people, with the hustle and bustle of real life;
their poetry has an earthiness rooted in the dirt and grime and yes,
beauty of the everyday [2]. Which is not to say that they're incapable
of finer emotions or philosophical insight; it's just that they tend to
experience Life with a greater passion than most of us [3], and that
passion is often translated into words of wonderful poignancy.

thomas.

[1] A fascination Martin shares... you do remember what our little
egroup is called, don't you?
    A wandering minstrel I
    A thing of shreds and patches
    Of ballads, songs and snatches
    And dreamy lullaby
                -- from The Mikado, W. S. Gilbert.
[2] It's interesting to contrast the rough beauty of Raftery's verse
with the oh-so-elegant fluff that was being produced by the Augustan
poets in England at approximately the same time. No prizes for guessing
which I prefer :-)
[3] probably why they became poets in the first place.

[Followup]

The most moving portrayal of spontaneous minstrelsy I've ever come
across is the description of the Singers, in Samuel R. Delany's
breathtakingly brilliant short story 'Time Considered as a Helix of
Semi-Precious Stones'. Read it.

[Biography]

Anthony Raftery,1779 - 1835, the poet, was, we are told, born in Cill
Liadain (Killeadan), near Kiltimagh County, Mayo, as the son of a weaver
from County Sligo. Blinded by smallpox in childhood and illiterate, he
was helped by his father's employer, Frank Taaffe, for whom he was a
household entertainer, until they fell out, allegedly because he killed
a favourite horse. Raftery then joined the thousands of homeless people,
who roamed Ireland to live off a population  not much better off than
himself.

    Mise Raiftearai an file,
    Lan dochas 's gra,
    Le suile gan solas,
    Le ciunas gan cra,
    Feach anois me
    Is mo chul le balla
    Ag seimn ceoil
    Do phocai folamh.

[I've omitted the diacritical marks for the benefit of those of you
whose mailers don't support extended ASCII; the curious can view the
poem in its 'true' form at the website listed below - t.]

This poem tells us how he lived. `I am Raftery,the poet, full of hope
and love; with eyes without light, with gentleness without misery, Look
at me now and  my back to the wall, playing music to empty pockets'.
However, he must have been better off than most. Because of his talents
as a poet and musician he was welcomed in many houses. He spent most of
his adult life in `Achréidh na Gaillimhe'(the rich farmland of East
Galway), where the `strong farmers' were his patrons. A poet of the
people, his work deals with events of the time and reflect the views of
the people of the area. Loud in his praise of those who helped him, his
sharp tongue was used against those who incurred his wrath.

    -- from http://homepage.tinet.ie/~foregan/adc/raftery.html

[Links]

A more detailed biography (and far more interesting) essay on Raftery
can be found at [broken link] http://www.galwayonline.ie/history/history2/rafter.htm

For an alternative theory on the authorship of today's poem, check out
[broken link] http://hep.uchicago.edu/~oser/raftery.html

And for an essay on Gaelic literature in general, visit
http://infoplease.lycos.com/ce5/CE019894.html

[Random Thought]

I can't help but wonder how much Heinlein was influenced by the career
(and character) of Raftery while creating the immortal Rhysling. I'll
run 'The Green Hills of Earth' some day; you can judge for yourself.

t.

The Need of Being Versed in Country Things -- Robert Frost

Guest poem sent in by Deepak Singh

My first real attempt at something like this so hopefully is isn't too bad.
(Poem #170) The Need of Being Versed in Country Things
  The house had gone to bring again
  To the midnight sky a sunset glow.
  Now the chimney was all of the house that stood,
  Like a pistil after the petals go.

  The barn opposed across the way,
  That would have joined the house in flame
  Had it been the will of the wind, was left
  To bear forsaken the place's name.

  No more it opened with all one end
  For teams that came by the stony road
  To drum on the floor with scurrying hoofs
  And brush the mow with the summer load.

  The birds that came to it through the air
  At broken windows flew out and in,
  Their murmur more like the sigh we sigh
  From too much dwelling on what has been.

  Yet for them the lilac renewed its leaf,
  And the aged elm, though touched with fire;
  And the dry pump flung up an awkward arm:
  And the fence post carried a strand of wire.

  For them there was really nothing sad.
  But though they rejoiced in the nest they kept,
  One had to be versed in country things
  Not to believe the phoebes wept.
-- Robert Frost
Commentary and Remarks:

Robert Frost (1874-1963) does not need much of an introduction.  A born and
bred New Englander he won the Pulitzer 4 times and was the first poet to
ever read poetry at a presidential inauguration (JFK's). It was during his
stay in England (1912-1915) that his career as a poet really took off.
There he met and was influenced by such contemporary British poets as Edward
Thomas, Rupert Brooke, and Robert Graves.  Early help in promoting his
poetry came from Ezra Pounds.

A lot of his work is principally associated with New England.  He was a
poet of traditional verse forms whose work went far beyond regionalism.
His poems were often dark and searching, his work infused with layers of
ambiguity and irony.  Someone told me this story about his meeting with
Robert Frost while he was in high school

  "I had an opportunity to spend an afternoon with Robert Frost, who was a
  warm yet sarcastic fellow. I told him thatI had spent two weeks in my
  class studying "Stopping by the woods.." and I told him the complex
  interpretation of the poem that my professor had presented. I asked him if
  it was really possible he had been thinking along those lines when he
  wrote it. He smiled and said that he had read about 8 different and
  mutually exclusive interpretations of that poem, and he enjoyed all of
  them, but asked me what mine was. I gave him something very simple, and he
  said he liked it as much as the others. What he was basically saying, I
  think is that what he was thinking when he wrote the poem will remain with
  him and perhaps even be obscure to him, and how we interpret it is up to
  us. There is no correct answer"

That does sum up Frost very well for me.  The poem in the above story was
not  "The Need ..." but a lot of Frost's poetry can be viewed from a similar
perspective.

Frost was a farmer for many years and a lot of his poetry deals with rural
New England.  "The need for ... " in my opinion at least is a fairly simple
poem and that was one of Frosts strengths; he could show the hidden drama in
ordinary things.  Using New Hampshire as a backdrop, this poem goes a long
way into understanding life and death.  How life always "goes on" in the
country.  The scene is static yet Frost makes it tell a story, a simple yet
heartfelt one.

--
Deepak