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September 1, 1939 -- W H Auden

Guest poem sent in by John Burke
(Poem #889) September 1, 1939
 I sit in one of the dives
 On Fifty-second street
 Uncertain and afraid
 As the clever hopes expire
 Of a low dishonest decade:
 Waves of anger and fear
 Circulate over the bright
 and darkened lands of the earth,
 Obsessing our private lives;
 The unmentionable odour of death
 Offends the September night.

 Accurate scholarship can
 unearth the whole offence
 From Luther until now
 That has driven a culture mad,
 Find what occurred at Linz,
 What huge imago made
 A psychopathic god:
 I and the public know
 What all schoolchildren learn,
 Those to whom evil is done
 Do evil in return.

 Exiled Thucydides knew
 All that a speech can say
 About Democracy,
 And what dictators do,
 The elderly rubbish they talk
 To an apathetic grave;
 Analysed all in his book,
 The enlightenment driven away,
 The habit-forming pain,
 Mismanagement and grief:
 We must suffer them all again.

 Into this neutral air
 Where blind skyscrapers use
 Their full height to proclaim
 The strength of Collective Man,
 Each language pours its vain
 Competitive excuse:
 But who can live for long
 In an euphoric dream;
 Out of the mirror they stare,
 Imperialism¹s face
 And the international wrong.

 Faces along the bar
 Cling to their average day:
 The lights must never go out,
 The music must always play,
 All the conventions conspire
 To make this fort assume
 The furniture of home;
 Lest we should see where we are,
 Lost in a haunted wood,
 Children afraid of the night
 who have never been happy or good.

 The windiest militant trash
 Important Persons shout
 Is not so crude as our wish:
 What mad Nijinsky wrote
 About Diaghilev
 Is true of the normal heart;
 For the error bred in the bone
 Of each woman and each man
 Craves what it cannot have,
 Not universal love
 But to be loved alone.

 From the conservative dark
 Into the ethical life
 The dense commuters come,
 Repeating their morning vow,
 "I will be true to the wife.
 I'll concentrate more on my work,"
 And helpless governors wake
 To resume their compulsory game:
 Who can release them now,
 Who can reach the deaf,
 Who can speak for the dumb?

 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.

 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.
-- W H Auden
The poem (which has long been my favorite in English) speaks for itself. I
might just note that in fact, as Auden himself pointed out some years later,
we must love one another *and* die; it's a little light-minded to suppose
that somehow love conquers mortality. It doesn't, though it can make the
knowledge of mortality bearable.

-- jvb

[Martin adds: "We must love one another and die" has gone straight onto my
list of favourite quotations.]

A Psalm of Life -- Henry Wadsworth Longfellow

Guest poem sent in by Sally
(Poem #888) A Psalm of Life
What the heart of the young man said to the psalmist

 Tell me not, in mournful numbers,
     Life is but an empty dream! --
 For the soul is dead that slumbers,
     And things are not what they seem.

 Life is real!  Life is earnest!
     And the grave is not its goal;
 Dust thou art, to dust returnest,
     Was not spoken of the soul.

 Not enjoyment, and not sorrow,
     Is our destined end or way;
 But to act, that each to-morrow
     Find us farther than to-day.

 Art is long, and Time is fleeting,
     And our hearts, though stout and brave,
 Still, like muffled drums, are beating
     Funeral marches to the grave.

 In the world's broad field of battle,
     In the bivouac of Life,
 Be not like dumb, driven cattle!
     Be a hero in the strife!

 Trust no Future, howe'er pleasant!
     Let the dead Past bury its dead!
 Act, -- act in the living Present!
     Heart within, and God o'erhead!

 Lives of great men all remind us
     We can make our lives sublime,
 And, departing, leave behind us
     Footprints on the sands of time;

 Footprints, that perhaps another,
     Sailing o'er life's solemn main,
 A forlorn and shipwrecked brother,
     Seeing, shall take heart again.

 Let us, then, be up and doing,
     With a heart for any fate;
 Still achieving, still pursuing,
     Learn to labor and to wait.
-- Henry Wadsworth Longfellow
    Thank you for choosing a poem with the terrorist attacks in mind.  I live
in Washington, DC, and have been getting first hand reports from a niece who
lives in downtown NY in an apartment that had a view of the World Trade
Center.  However, I think almost all Americans have felt personally affected
by this tragedy.

     I'm sure I'm not the only one of your subscribers who has been looking
for poetry that speaks to us at this time.  I hope others will send you their
suggestions.  Regarding "Beat! Beat! Drums!" I agree with your comments that
the poem describes how an idea -- a Cause -- can grip a people.  It does
occur to me that the Cause in the case of Whitman's war was ending slavery, a
Cause worth fighting a war if there ever was one.  There is real irony in the
fact that his poem just as effectively portrays less worthy Causes.

    As I looked through my various poetry books, I found myself coming back
to Henry Wadsworth Longfellow's A Psalm of Life.  Here in America, one has to
be struck by the way Americans have risen to the occasion: fire and rescue
workers giving their lives trying to save others; people carrying others down
70 flights of stairs; thousands of people lining up to donate blood.  I think
the Longfellow poem speaks to that sort of spirit.

A note in my book says that, "significantly, [Longfellow] referred to it
variously as both a psalm of life and a psalm of death."

Sally

Beat! Beat! Drums! -- Walt Whitman

       
(Poem #887) Beat! Beat! Drums!
 Beat! beat! drums! -- blow! bugles! blow!
 Through the windows -- through doors -- burst like a ruthless force,
 Into the solemn church, and scatter the congregation,
 Into the school where the scholar is studying;
 Leave not the bridegroom quiet -- no happiness must he have now with his bride,
 Nor the peaceful farmer any peace, ploughing his field or gathering his grain,
 So fierce you whirr and pound you drums -- so shrill you bugles blow.

 Beat! beat! drums! -- blow! bugles! blow!
 Over the traffic of cities -- over the rumble of wheels in the streets;
 Are beds prepared for sleepers at night in the houses?
                                       no sleepers must sleep in those beds,
 No bargainers bargains by day -- no brokers or speculators --
                                                       would they continue?
 Would the talkers be talking? would the singer attempt to sing?
 Would the lawyer rise in the court to state his case before the judge?
 Then rattle quicker, heavier drums -- you bugles wilder blow.

 Beat! beat! drums! -- blow! bugles! blow!
 Make no parley -- stop for no expostulation,
 Mind not the timid -- mind not the weeper or prayer,
 Mind not the old man beseeching the young man,
 Let not the child's voice be heard, nor the mother's entreaties,
 Make even the trestles to shake the dead where they lie awaiting the hearses,
 So strong you thump O terrible drums -- so loud you bugles blow.
-- Walt Whitman
Today's poem is not so much about war, as about the *idea* of war, and the
terrible urgency with which it can sweep through a nation's consciousness,
consuming or overpowering everything in its path.

The structure and rhythms of the poem reflect that urgency - not the
measured cadence of a marching drum, but the rising, almost hysterical rush
of sound as action seeks to displace thought, as the drums 'rattle quicker,
heavier' and the bugles 'wilder blow'.

It is tempting to view this as purely an antiwar poem - tempting, but overly
simplistic. More accurately, the poem is more descriptive than judgemental,
capturing rather precisely the raised emotions and demanded sacrifices of a
brewing war, and the frightening, jealous power with which an idea, a Cause
can grip a people.

Afterthought:

Yes, today's poem was prompted by the terrorist attack on the World Trade
Center, and its nascent aftermath. A poem that better resonates with my
feelings, though, is MacNeice's "The Sunlight on the Garden", already run on
Minstrels: poem #757

-martin

Maiden Name -- Philip Larkin

Guest poem submitted by Priscilla Jebaraj:
(Poem #886) Maiden Name
 Marrying left your maiden name disused.
 Its five light sounds no longer mean your face,
 Your voice, and all your variants of grace;
 For since you were so thankfully confused
 By law with someone else, you cannot be
 Semantically the same as that young beauty:
 It was of her that these two words were used.

 Now it's a phrase applicable to no one,
 Lying just where you left it, scattered through
 Old lists, old programmes, a school prize or two
 Packets of letters tied with tartan ribbon -
 Then is it scentless, weightless, strengthless, wholly
 Untruthful? Try whispering it slowly.
 No, it means you. Or, since you're past and gone,

 It means what we feel now about you then:
 How beautiful you were, and near, and young,
 So vivid, you might still be there among
 Those first few days, unfingermarked again.
 So your old name shelters our faithfulness,
 Instead of losing shape and meaning less
 With your depreciating luggage laden.
-- Philip Larkin
I like everyday poems too, and I thought of this one when I read Night
Vision. I guess it's not really an everyday poem -- giving up your maiden
name doesn't happen everyday! -- but the images used are everyday. This
isn't a profound reflection on the loss of identity. Or maybe it is; except
that big words aren't used. Instead, there are simple, everyday pictures of
school prizes and tartan ribbon. This doesn't seem a poem with a forceful
message to propagate. But maybe it does just that, in its everyday way.

Priscilla.

[Minstrels Links]

Philip Larkin:
Poem #73, I Remember, I Remember
Poem #100, Days
Poem #178, Water
Poem #254, The North Ship
Poem #502, MCMXIV
Poem #544, Toads
Poem #756, An Arundel Tomb
Poem #793, No Road

Night Vision -- Suzanne Vega

       
(Poem #885) Night Vision
 By day give thanks, by night beware
 Half the world in sweetness, the other in fear

 When the darkness takes you, with her hand across your face
 Don't give in too quickly, find the things she's erased

   Find the line, find the shape through the grain
   Find the outline and things will tell you their name

 The table, the guitar, the empty glass
 All will blend together when the daylight has passed

   Find the line, find the shape through the grain
   Find the outline and things will tell you their name

 Now I watch you falling into sleep
 Watch your fist uncurl against the sheet
 Watch your lips fall open and your eyes dim
 In blind faith

 I would shelter you
 And keep you in light
 But I can only teach you
 Night vision
 Night vision
 Night vision
-- Suzanne Vega
I like everyday poems. Of course, I also like love poems, and war poems,
metaphysicals and the Movement, irreverent flights of whimsy and dense
conglomerations of weighty syllables. But there's a special place in my
affections for poems that celebrate the simple, the ordinary, the casual -
and which do so in such a manner as to offer a new way of seeing them.

Today's poem is one such. Who hasn't reflected on the way things look after
the lights have been turned out? The strange shapes furniture and fabric
take, the patterns of moonlight and shadow rippling across walls and floor,
the reflected images in mirrors, the silhouettes of lamps and bookshelves
and chairs and vases... at night, reality itself seems to 'suffer a
sea-change / into something rich and strange' [1].

And Vega captures this. "Night vision" is a song [2] that combines the magic
of darkness with the tenderness and poetry of love, and it's wonderfully,
wonderfully done.

thomas.

[1] Shakespeare, "The Tempest". See poem #16
[2] It's on her utterly brilliant (and surprisingly little known) second
album, "Solitude Standing", released in 1987.