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The Wreck of the Hesperus -- Henry Wadsworth Longfellow

Guest poem submitted by Suresh Ramasubramanian, as
part of this week's theme, poems oft-quoted by Bertie Wooster:
(Poem #717) The Wreck of the Hesperus
 It was the schooner Hesperus,
   That sailed the wintry sea;
 And the skipper had taken his little daughter,
   To bear him company.

 Blue were her eyes as the fairy-flax,
   Her cheeks like the dawn of day,
 And her bosom white as the hawthorn buds,
   That ope in the month of May.
 The skipper he stood beside the helm,
   His pipe was in his mouth,
 And he watched how the veering flaw did blow
   The smoke now West, now South.

 Then up and spake an old Sailor,
   Had sailed to the Spanish Main,
 "I pray thee, put into yonder port,
   For I fear a hurricane.

 "Last night, the moon had a golden ring,
   And to-night no moon we see!"
 The skipper, he blew a whiff from his pipe,
   And a scornful laugh laughed he.

 Colder and louder blew the wind,
   A gale from the Northeast,
 The snow fell hissing in the brine,
   And the billows frothed like yeast.

 Down came the storm, and smote amain
   The vessel in its strength;
 She shuddered and paused, like a frighted steed,
   Then leaped her cable's length.

 "Come hither! come hither! my little daughter,
   And do not tremble so;
 For I can weather the roughest gale
   That ever wind did blow."

 He wrapped her warm in his seaman's coat
   Against the stinging blast;
 He cut a rope from a broken spar,
   And bound her to the mast.

 "O father! I hear the church-bells ring,
   Oh say, what may it be?"
 "'T is a fog-bell on a rock-bound coast!" --
   And he steered for the open sea.

 "O father! I hear the sound of guns,
   Oh say, what may it be?"
 "Some ship in distress, that cannot live
   In such an angry sea!"

 "O father! I see a gleaming light,
   Oh say, what may it be?"
 But the father answered never a word,
   A frozen corpse was he.

 Lashed to the helm, all stiff and stark,
   With his face turned to the skies,
 The lantern gleamed through the gleaming snow
   On his fixed and glassy eyes.

 Then the maiden clasped her hands and prayed
   That savèd she might be;
 And she thought of Christ, who stilled the wave
   On the Lake of Galilee.

 And fast through the midnight dark and drear,
   Through the whistling sleet and snow,
 Like a sheeted ghost, the vessel swept
   Tow'rds the reef of Norman's Woe.

 And ever the fitful gusts between
   A sound came from the land;
 It was the sound of the trampling surf
   On the rocks and the hard sea-sand.

 The breakers were right beneath her bows,
   She drifted a dreary wreck,
 And a whooping billow swept the crew
   Like icicles from her deck.

 She struck where the white and fleecy waves
   Looked soft as carded wool,
 But the cruel rocks, they gored her side
   Like the horns of an angry bull.

 Her rattling shrouds, all sheathed in ice,
   With the masts went by the board;
 Like a vessel of glass, she stove and sank,
   Ho! ho! the breakers roared!

 At daybreak, on the bleak sea-beach,
   A fisherman stood aghast,
 To see the form of a maiden fair,
   Lashed close to a drifting mast.

 The salt sea was frozen on her breast,
   The salt tears in her eyes;
 And he saw her hair, like the brown sea-weed,
   On the billows fall and rise.

 Such was the wreck of the Hesperus,
   In the midnight and the snow!
 Christ save us all from a death like this,
   On the reef of Norman's Woe!
-- Henry Wadsworth Longfellow
In 1839, Longfellow was inspired to write one of his best-known poems on
hearing of the wreck of the schooner Hesperus on the reef of Norman's Woe,
off Gloucester, Massachusetts some twenty years ago. One of the bodies
washed ashore was, in fact, lashed to a spar, as described in the poem.

He described the composition of the poem as follows:

"I wrote last evening a notice of Allston's poems. After which I sat till
twelve o'clock by my fire, smoking, when suddenly it came into my mind to
write the Ballad of the Schooner Hesperus; which accordingly I did. Then I
went to bed, but could not sleep. New thoughts were running in my mind, and
I got up to add them to the ballad. It was three by the clock. I then went
to bed and fell asleep. I feel pleased with the ballad. It hardly cost me an
effort. It did not come into my mind by lines but by stanzas."

"The Wreck ..." has been set to music by John Liptrot Hatton, a mostly
self-taught musician who was quite popular during the nineteenth century for
his ballads (and assorted other work including cathedral services, anthems,
operas ...).

As for the Bertie connection, well ... he has often compared his sozzled (or
unhappy, or whatever) friends to "the wreck of the Hesperus".

Oh, and try these two more recent musical takes on 'Hesperus':

George Harrison ([broken link] http://brouci.host.sk/text/george/wreckoft.htm)
Procol Harum (www.procolharum.com/wreck_of_the_hesperus_crd.htm)

Suresh.

Warning -- Jenny Joseph

       
(Poem #716) Warning
 When I am an old woman I shall wear purple
 With a red hat which doesn't go, and doesn't suit me.
 And I shall spend my pension on brandy and summer gloves
 And satin sandals, and say we've no money for butter.
 I shall sit down on the pavement when I'm tired
 And gobble up samples in shops and press alarm bells
 And run my stick along the public railings
 And make up for the sobriety of my youth.
 I shall go out in my slippers in the rain
 And pick the flowers in other people's gardens
 And learn to spit.

 You can wear terrible shirts and grow more fat
 And eat three pounds of sausages at a go
 Or only bread and pickle for a week
 And hoard pens and pencils and beermats and things in boxes.

 But now we must have clothes that keep us dry
 And pay our rent and not swear in the street
 And set a good example for the children.
 We must have friends to dinner and read the papers.

 But maybe I ought to practice a little now?
 So people who know me are not too shocked and surprised
 When suddenly I am old, and start to wear purple.
-- Jenny Joseph
A refreshingly unrepentant poem about growing old... it does offer a wee bit
of editorializing on the subject of society's attitude towards the aged (and
fixation with appearances), but it's basically just a charming piece of
whimsy, and deserves to be appreciated for that and that alone.

thomas.

PS. I seem to remember "Warning" being voted the most popular post-war poem
in England, in some newspaper survey or the other... so that puts it right
up there with "Daffodils" and "If" and other perennial favourites.

[From the-sublime-to-the-ridiculous dept.]

Another, errm, 'poem' attributed to Jenny Joseph has been making the rounds
lately:

 "A Warning from an Old Lady"

 If I had to live life over
 I'd try to make more mistakes next time
 I would relax, I'd limber up
 I would be sillier than I have been on this trip
 I know of very few things I would take seriously
 I would be crazier, I would be less hygienic
 I would take more chances
 I would take more trips
 I would climb more mountains
 Swim more rivers
 And watch more sunsets.
 I would eat more ice cream and less beans
 I'd pick more daisies

        -- NOT Jenny Joseph
        [actually, it's based on an essay by a certain Dan Herold, whoever
he is]

The above effusion is a typical example of the annoyingly sentimental guff
that seems to proliferate on the Internet; needless to say, I consider it
almost completely bereft of poetic merit. Nonetheless I find it interesting
because of the way Joseph's name has come to be associated with it -
interesting because it does echo at least a few of the ideas underlying
Joseph's original poem [1]. A fascinating example of symbiotic memes...

[1] while completely missing the point of the latter, of course. And being
desperately unfunny to boot.

[Links]

Pete Davis' "For Jenny Joseph and Anne Davis" offers the point of view of an
innocent bystander watching an "An old woman in a beauty parlor / standing
on her head, up to her ears / in shampoo, singing Joy To The World "... the
final couplet is especially funny:
http://www.lavondyss.com/writings/poems/purple.html
I don't know who Anne Davis is, though.

There are lots of poems about aging on the Minstrels, none of which I can
remember right now. You can browse the entire list at
http://www.cs.rice.edu/~ssiyer/minstrels/

[A Very Brief Biography]

 b 1932.
 Poet and prose writer.

Joseph has been writing since 1961 (her first publication was The
Unlooked-for Season, a volume of poetry). In 1974 she won the Cholmondely
award for Rose in the Afternoon. Other volumes include: The Thinking Heart
(1978) and Beyond Descartes (1983). She also writes for children.

        -- Bloomsbury Dictionary of English Literature

The Blessed Damozel -- Dante Gabriel Rossetti

This week's theme - some of Bertie Wooster's oft-quoted poems.
(Poem #715) The Blessed Damozel
 The blessed damozel lean'd out
     From the gold bar of Heaven;
 Her eyes were deeper than the depth
     Of waters still'd at even;
 She had three lilies in her hand,
     And the stars in her hair were seven.

 Her robe, ungirt from clasp to hem,
     No wrought flowers did adorn,
 But a white rose of Mary's gift,
    For service meetly worn;
 Her hair that lay along her back
     Was yellow like ripe corn.

 Her seem'd she scarce had been a day
     One of God's choristers;
 The wonder was not yet quite gone
     From that still look of hers;
 Albeit, to them she left, her day
     Had counted as ten years.

 (To one, it is ten years of years.
     ... Yet now, and in this place,
 Surely she lean'd o'er me--her hair
     Fell all about my face ....
 Nothing: the autumn-fall of leaves.
     The whole year sets apace.)

 It was the rampart of God's house
     That she was standing on;
 By God built over the sheer depth
     The which is Space begun;
 So high, that looking downward thence
     She scarce could see the sun.

 It lies in Heaven, across the flood
     Of ether, as a bridge.
 Beneath, the tides of day and night
     With flame and darkness ridge
 The void, as low as where this earth
     Spins like a fretful midge.

 Around her, lovers, newly met
     'Mid deathless love's acclaims,
 Spoke evermore among themselves
     Their heart-remember'd names;
 And the souls mounting up to God
     Went by her like thin flames.

 And still she bow'd herself and stoop'd
     Out of the circling charm;
 Until her bosom must have made
     The bar she lean'd on warm,
 And the lilies lay as if asleep
     Along her bended arm.

 From the fix'd place of Heaven she saw
     Time like a pulse shake fierce
 Through all the worlds. Her gaze still strove
     Within the gulf to pierce
 Its path; and now she spoke as when
     The stars sang in their spheres.

 The sun was gone now; the curl'd moon
     Was like a little feather
 Fluttering far down the gulf; and now
     She spoke through the still weather.
 Her voice was like the voice the stars
       Had when they sang together.

 (Ah sweet! Even now, in that bird's song,
     Strove not her accents there,
 Fain to be hearken'd? When those bells
     Possess'd the mid-day air,
 Strove not her steps to reach my side
     Down all the echoing stair?)

 "I wish that he were come to me,
     For he will come," she said.
 "Have I not pray'd in Heaven? -- on earth,
     Lord, Lord, has he not pray'd?
 Are not two prayers a perfect strength?
     And shall I feel afraid?

 "When round his head the aureole clings,
     And he is cloth'd in white,
 I'll take his hand and go with him
     To the deep wells of light;
 As unto a stream we will step down,
     And bathe there in God's sight.

 "We two will stand beside that shrine,
     Occult, withheld, untrod,
 Whose lamps are stirr'd continually
     With prayer sent up to God;
 And see our old prayers, granted, melt
     Each like a little cloud.

 "We two will lie i' the shadow of
     That living mystic tree
 Within whose secret growth the Dove
     Is sometimes felt to be,
 While every leaf that His plumes touch
     Saith His Name audibly.

 "And I myself will teach to him,
     I myself, lying so,
 The songs I sing here; which his voice
     Shall pause in, hush'd and slow,
 And find some knowledge at each pause,
     Or some new thing to know."

 (Alas! We two, we two, thou say'st!
     Yea, one wast thou with me
 That once of old. But shall God lift
    To endless unity
 The soul whose likeness with thy soul
     was but its love for thee?)

 "We two," she said, "will seek the groves
     Where the lady Mary is,
 With her five handmaidens, whose names
     Are five sweet symphonies,
 Cecily, Gertrude, Magdalen,
     Margaret and Rosalys.

 "Circlewise sit they, with bound locks
     And foreheads garlanded;
 Into the fine cloth white like flame
     Weaving the golden thread,
 To fashion the birth-robes for them
     Who are just born, being dead.

 "He shall fear, haply, and be dumb:
     Then will I lay my cheek
 To his, and tell about our love,
     Not once abash'd or weak:
 And the dear Mother will approve
     My pride, and let me speak.

 "Herself shall bring us, hand in hand,
     To Him round whom all souls
 Kneel, the clear-rang'd unnumber'd heads
     Bow'd with their aureoles:
 And angels meeting us shall sing
     To their citherns and citoles.

 "There will I ask of Christ the Lord
     Thus much for him and me: --
 Only to live as once on earth
     With Love, -- only to be,
 As then awhile, for ever now
     Together, I and he."

 She gaz'd and listen'd and then said,
     Less sad of speech than mild, --
 "All this is when he comes." She ceas'd.
     The light thrill'd towards her, fill'd
 With angels in strong level flight.
     Her eyes pray'd, and she smil'd.

 (I saw her smile.) But soon their path
     Was vague in distant spheres:
 And then she cast her arms along
     The golden barriers,
 And laid her face between her hands,
     And wept. (I heard her tears.)
-- Dante Gabriel Rossetti
Note:

  The poem was revised for publication in The Oxford and Cambridge Magazine
  in 1856, and again before its appearance in Poems, 1870. Thirty years
  after its first appearance Rossetti told Hall Caine that he had written
  "The Blessed Damozel" as a sequel to Poe's "The Raven" (published in
  1845): ''I saw that Poe had done the utmost it was possible to do with the
  grief of the lover on earth, and so determined to reverse the conditions,
  and give utterance to the yearning of the loved one in heaven." Rossetti's
  early study of Dante, especially the Paradiso, has influenced the general
  conception and many of the details of the poem.

        http://www.library.utoronto.ca/utel/rp/poems/rossettg2.html

I must admit that, before reading the above, I did not think very much of
today's poem. As the tale of a dead woman yearning for her earth-bound
lover, it leaves me rather cold; again, I am not familiar enough with Dante
to appreciate his influence on 'The Blessed Damozel'. However, the idea of a
sequel to Poe's Raven is intriguing - despite the number of times I've read
the latter, it never occurred to me to flesh out the dead Lenore, or to see
her as anything more than the object of the poet's futile line of questions.
I *still* don't like the poem much, but I do appreciate it more than I used
to <g>.

On the Theme:

  One of Bertie Wooster's more amusing characteristics, as any fan of
  Wodehouse's marvellous series will doubtless agree, is his frequent
  quoting (and misquoting) of fragments of famous poems. I've got a few in
  mind, but feel free to suggest your personal favourites <g>. Also, as
  always, guest poems are welcome. And a further request - if people could
  send in Wodehouse quotes containing lines from the poems (as and when you
  come across them), so that we can append them to the page, I'd be
  eternally grateful.

Links:

  Look up the annotations at
    http://www.library.utoronto.ca/utel/rp/poems/rossettg2.html

  There's an extensive discussion of the poem at
    http://www.bartleby.com/223/0502.html

  Rossetti's painting in illustration of the poem:
    http://www.hearts-ease.org/gallery/pre-raph/rossetti/1.html

  A bit on the history of "DGR's most important (evolving) textual
  interpretation of his Dantescan inheritance":
    http://jefferson.village.virginia.edu/rossetti/poems/1-1847head2.html

  A biography of DGR:
    http://www.thecore.nus.edu.sg/landow/victorian/dgr/dgrseti13.html

  For more on the Pre-Raphaelite brotherhood:
    http://www.speel.demon.co.uk/other/prb.htm

  Poe's Raven: poem #85

  And some Wodehouse sites:
    [broken link] http://www.smart.net/~tak/wodehouse.html
    http://www.tiac.net/users/dejesus/jeeves/index.htm

Afterthought:

  Parts of this poem are so reminiscent of Dorothy Parker's 'A Well Worn
  Story'

       Together we trod the secret lane
       And walked the muttering town
       I wore my heart like a wet, red stain
       On the breast of a velvet gown

  that I have to wonder if she was consciously or unconsciously parodying
  it. Either way, here, following the popular Minstrels tradition of letting
  Parker have the last word, is her "D. G. Rossetti":

       Dante Gabriel Rossetti
       Buried all of his libretti,
       Thought the matter over - then
       Went and dug them up again.

m.

Night of the Scorpion -- Nissim Ezekiel

Guest poem sent in by Gaurav Khanna
(Poem #714) Night of the Scorpion
 "I remember the night my mother was stung by a scorpion. Ten hours
 of steady rain had driven him to crawl beneath a sack of rice.
 Parting with his poison -- flash of diabolic tail in the dark room --
 he risked the rain again. The peasants came like swarms of flies
 and buzzed the Name of God a hundred times to paralyse the Evil One.
 With candles and with lanterns throwing giant scorpion shadows
 on the sun-baked walls they searched for him; he was not found.
 They clicked their tongues. With every movement the scorpion made
 his poison moved in Mother's blood, they said. May he sit still,
 they said. May the sum of evil balanced in this unreal world
 against the sum of good become diminished by your pain.
 May the poison purify your flesh of desire, and your spirit of ambition,
 they said, and they sat around on the floor with my mother in the centre.
 the peace of understanding on each face. More candles, more lanterns,
 more neighbours, more insects and the endless rain.
 My mother twisted through and through groaning on a mat.
 My father, sceptic, rationalist, trying every curse and blessing,
 powder, mixture, herb, and hybrid. He even poured a little paraffin
 upon the bitten toes and put a match to it.
 I watched the flame feeding on my mother. I watched the holy man
 perform his rites to tame the poison with incantation.
 After twenty hours it lost its sting."

 "My mother only said:
 Thank God the scorpion picked on me and spared my children."
-- Nissim Ezekiel
This is a pretty stark poem; albeit relieved to an extent by the display of
maternal emotion at the end. Doesn't rhyme at all, unlike most of Ezekiel's
poems I have read, but it does have a beauty when read with the right
inflection. I studied this for my 10th grade exams and along with Frost's
"Stopping by Woods" and Wordsworth's "Daffodils", it'll stay with me for a
long time. I'd love to hear what you guys think of it and any bio info you
have on Ezekiel.

regards,
gaurav

Links:

We've run two of Ezekiel's 'Indian English' poems on Minstrels:

Poem #516, 'The Patriot'
Poem #579, 'The Professor'

Between the two of them they cover Ezekiel's biography and some background
on his poetry.

Last Answers -- Carl Sandburg

       
(Poem #713) Last Answers
 I wrote a poem on the mist
 And a woman asked me what I meant by it.
 I had thought till then only of the beauty of the mist,
              how pearl and gray of it mix and reel,
 And change the drab shanties with lighted lamps at evening
              into points of mystery quivering with color.

   I answered:
 The whole world was mist once long ago and some day
              it will all go back to mist,
 Our skulls and lungs are more water than bone and tissue
 And all poets love dust and mist because all the last answers
 Go running back to dust and mist.
-- Carl Sandburg
An intriguing look at the nature of poetry, and yet another answer to the
perennial question every poet has to face - what does his poetry *mean*?
I personally think MacLeish put it best - 'a poem should not mean, but be',
but of course, that's far too simple a reply to a question generations of
poets have attempted to answer in myriad ways.

Returning to the poem, one could almost retitle it 'Two ways of looking at
the mist', and the two verses exemplify very different views on poetry.
Sandburg has combined the two neatly into a thought-provoking poem that,
like many of the best such poems, simultaneously talks about poetry and
illustrates its points via a parallel series of images.

And those images, of course, are imbued with all Sandburg's talent for
beauty and vividness - compare his 'Crucible' for another exquisite example.

Links:

'Crucible', and a Sandburg biography at
 poem #205

We've also run several other poems on poetry:

 Poem #186 Patrick MacGill, 'By-the-Way'
 Poem #187 R. S. Thomas, 'Poetry for Supper'
 Poem #188 Archibald MacLeish, 'Ars Poetica'
 Poem #189 bpNichol, 'dear Captain Poetry'
 Poem #190 Nicanor Parra, 'Young Poets'
 Poem #428 Eve Merriam, 'Reply to the Question: "How can You Become a Poet?"'

-martin