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The Pumpkin -- John Greenleaf Whittier

U.S. Thanksgiving Day guest poem sent in by Vidur
(Poem #1119) The Pumpkin
 Oh, greenly and fair in the lands of the sun,
 The vines of the gourd and the rich melon run,
 And the rock and the tree and the cottage enfold,
 With broad leaves all greenness and blossoms all gold,
 Like that which o'er Nineveh's prophet once grew,
 While he waited to know that his warning was true,
 And longed for the storm-cloud, and listened in vain
 For the rush of the whirlwind and red fire-rain.

 On the banks of the Xenil the dark Spanish maiden
 Comes up with the fruit of the tangled vine laden;
 And the Creole of Cuba laughs out to behold
 Through orange-leaves shining the broad spheres of gold;
 Yet with dearer delight from his home in the North,
 On the fields of his harvest the Yankee looks forth,
 Where crook-necks are coiling and yellow fruit shines,
 And the sun of September melts down on his vines.

 Ah! on Thanksgiving day, when from East and from West,
 >From North and from South come the pilgrim and guest,
 When the gray-haired New Englander sees round his board
 The old broken links of affection restored,
 When the care-wearied man seeks his mother once more,
 And the worn matron smiles where the girl smiled before,
 What moistens the lip and what brightens the eye?
 What calls back the past, like the rich Pumpkin pie?

 Oh, fruit loved of boyhood! the old days recalling,
 When wood-grapes were purpling and brown nuts were falling!
 When wild, ugly faces we carved in its skin,
 Glaring out through the dark with a candle within!
 When we laughed round the corn-heap, with hearts all in tune,
 Our chair a broad pumpkin,--our lantern the moon,
 Telling tales of the fairy who travelled like steam,
 In a pumpkin-shell coach, with two rats for her team!

 Then thanks for thy present! none sweeter or better
 E'er smoked from an oven or circled a platter!
 Fairer hands never wrought at a pastry more fine,
 Brighter eyes never watched o'er its baking, than thine!
 And the prayer, which my mouth is too full to express,
 Swells my heart that thy shadow may never be less,
 That the days of thy lot may be lengthened below,
 And the fame of thy worth like a pumpkin-vine grow,
 And thy life be as sweet, and its last sunset sky
 Golden-tinted and fair as thy own pumpkin pie!
-- John Greenleaf Whittier
thanksgiving is here. quite a big deal for those of us in the united states.
what i love about this holiday, even more than having a 4-day weekend, even
more than getting together with friends and family, is pumpkin pie!

no, really. i mean, why bother with the almost-tasteless turkey and mashed
potatoes. why not just go straight to the pie?!

in fact, i think pumpkin pie is the best thing to come out of america.
seriously. i thought long and hard, and couldn't come up with any other
truly american thing that's even close. pumpkin cheesecake, maybe. but that
still comes second.

so here's a poem that is an ode to *the* pie, written by a 19th century
american poet, john greenleaf whittier. (well, it's obviously much more than
an ode, but it works well as one). i rather like the way the poem traces the
life of a pumpkin from the vine to the oven, touching upon universal themes
of childhood, love and family.

"and the prayer, which my mouth is too full to express,
swells my heart that thy shadow may never be less"

amen.

V-

Octopus -- Arthur Clement Hilton

       
(Poem #1118) Octopus
 Strange beauty, eight-limbed and eight-handed,
     Whence camest to dazzle our eyes?
 With thy bosom bespangled and banded
     With the hues of the seas and the skies;
 Is thy home European or Asian,
     O mystical monster marine?
 Part molluscous and partly crustacean,
     Betwixt and between.

 Wast thou born to the sound of sea trumpets?
     Hast thou eaten and drunk to excess
 Of the sponges -- thy muffins and crumpets,
     Of the seaweed -- thy mustard and cress?
 Wast thou nurtured in caverns of coral,
     Remote from reproof or restraint?
 Art thou innocent, art thou immoral,
     Sinburnian or Saint?

 Lithe limbs, curling free, as a creeper
     That creeps in a desolate place,
 To enroll and envelop the sleeper
     In a silent and stealthy embrace,
 Cruel beak craning forward to bite us,
     Our juices to drain and to drink,
 Or to whelm us in waves of Cocytus,
     Indelible ink!

 O breast, that 'twere rapture to writhe on!
     O arms 'twere delicious to feel
 Clinging close with the crush of the Python,
     When she maketh her murderous meal!
 In thy eight-fold embraces enfolden,
     Let our empty existence escape,
 Give us death that is glorious and golden,
     Crushed all out of shape!

 Ah! thy red lips, lascivious and luscious,
     With death in their amorous kiss,
 Cling round us, and clasp us, and crush us,
     With bitings of agonised bliss;
 We are sick with the poison of pleasure,
     Dispense us the potion of pain;
 Ope thy mouth to its uttermost measure
     And bite us again!

 By Algernon Charles Sin-Burn
-- Arthur Clement Hilton
Note: A parody of Swinburne's "Dolores"

There are some parodies whose pleasure stems in good part from the sheer
painfulness of the original, and Octopus is definitely one such. 'Dolores'
is a poem I had great difficulty getting through - while each individual
verse is perfectly readable, there are way too many of them, and their
sequencing fails to capture my interest. Indeed, 'Octopus' is very like
Lewis Carroll's parodies in Alice, funny on their own, but much funnier once
you read the poems whose high tone they're mocking.

No real commentary on the poem itself - I just enjoy seeing a poet having
fun at another poet's well-deserved expense.

martin

p.s. doesn't "strange beauty eight limbed and eight handed" sound like it
should open a limerick?

Links:

"Dolores":
  http://user.itl.net/~geraint/dolores.html

UTEL's notes on the poem:
  http://www.library.utoronto.ca/utel/rp/poems/hilton2.html

Biography of Hilton:
  http://www.library.utoronto.ca/utel/rp/authors/hilton.html#notes

Home-thoughts, from the Sea -- Robert Browning

       
(Poem #1117) Home-thoughts, from the Sea
 Nobly, nobly Cape Saint Vincent to the North-west died away;
 Sunset ran, one glorious blood-red, reeking into Cadiz Bay;
 Bluish 'mid the burning water, full in face Trafalgar lay;
 In the dimmest North-east distance dawn'd Gibraltar grand and gray;
 'Here and here did England help me: how can I help England?'--say,
 Whoso turns as I, this evening, turn to God to praise and pray,
 While Jove's planet rises yonder, silent over Africa.
-- Robert Browning
Today's poem is vintage Browning, from the effortlessly flowing rhythm to
the intensity and sheer energy of the imagery. It's a rare poet who can get
away with a line as florid as

 Sunset ran, one glorious blood-red, reeking into Cadiz bay

but Browning unquestionably does, sweeping the reader along with his
vivider-than-life visions. True, the poem does falter a bit towards the
end, where the transition in mood from beauty-struck to contemplative isn't
quite as smooth as one might have wished, but that is a minor detail that it
soon recovers from.

It's also impressive that the entire poem is written with a single
end-rhyme, without the fact becoming at any time obtrusive (except at the
end, where Africa no longer rhymes with 'pray'[1]). The metre makes the poem
fall naturally and fairly tightly into couplets, so that the fact that
successive couplets have the same rhyme does not push itself forth as the
main feature of the verse. (Compare 'Sonnet With a Different Letter at the
End of Every Line' [Poem #194], where the whole point of the poem was the
aaaaaaaaaaaaaa rhyme scheme; here it is just an incidental detail).

Another wonderful thing about the poem is its metre, a strong, confident set
of trochaics in what UTEL calls[2] "the old 'fifteener' line of fifteen
syllables". Browning made use of it in several of his poems; I do not know
of anyone who does it better.

[1] I'm assuming it did at one point, since I can't really see Browning
deliberately spoiling the rhyme.
[2] in the commentary to Tennyson's "Locksley Hall"

martin

Transit -- Richard Wilbur

       
(Poem #1116) Transit
 A woman I have never seen before
 Steps from the darkness of her town-house door
 At just that crux of time when she is made
 So beautiful that she or time must fade.

 What use to claim that as she tugs her gloves
 A phantom heraldry of all the loves
 Blares from the lintel? That the staggered sun
 Forgets, in his confusion, how to run?

 Still, nothing changes as her perfect feet
 Click down the walk that issues in the street,
 Leaving the stations of her body there
 As a whip maps the countries of the air.
-- Richard Wilbur
Today's poem is reminiscent of Sandburg's "Last Answers" [Poem #713] in its
trick of simultaneously illustrating and deprecating 'poetry'. There is more
to it than mere rhetorical trickery, of course - to quote one critic:

  In fact, the smooth surface of the Wilbur poem can successfully distract
  us from recognizing how unusual and unexpected are the twists and leaps
  that structure the poem’s narrative. Many poems by Wilbur, while striking
  a superficial "balance," implicitly celebrate, while demonstrating, the
  virtues of a wit that is elaborately playful.
        -- http://www.english.uiuc.edu/maps/poets/s_z/wilbur/bio.htm

and that certainly holds true for 'Transit'. I think what I enjoy most about
Wilbur's poetry is his unxepected ('elaborately playful' expresses it very
well) turns of phrase, evident here in the final couplet, where we are hit
with the twin images of "stations of her body" and "a whip maps the
countries of the air". (This tendency is even more evident in some of his
other poems, my favourite being "blurring to sheer verb", from "A
Fire-Truck").

Parenthetically, the line "made so beautiful that she or time must fade"
seems to be a dig at Shakespeare, whose preoccupation with time and decay
permeates the sonnets, though the imagery in the next verse is more
reminiscent of a later generation of poets. And I have to admire the way
Wilbur makes the images his own, blending them into the poem at the same
time as he turns the critical, external eye of 'what use?' upon them.

martin

Links:
  The Modern American Poetry site
    http://www.english.uiuc.edu/maps/poets/s_z/wilbur/wilbur.htm
  has everything one could wish for about Wilbur, including a biography:
    http://www.english.uiuc.edu/maps/poets/s_z/wilbur/bio.htm

Shine, Perishing Republic -- Robinson Jeffers

Guest poem sent in by Issa Mikel
(Poem #1115) Shine, Perishing Republic
 While this America settles in the mould of its vulgarity, heavily thickening
     to empire,
 And protest, only a bubble in the molten mass, pops and sighs out, and the
     mass hardens,
 I sadly smiling remember that the flower fades to make fruit, the fruit rots
     to make earth.
 Out of the mother; and through the spring exultances, ripeness and decadence;
     and home to the mother.

 You making haste, haste on decay: not blameworthy; life is good, be it
     stubbornly long or suddenly
 A mortal splendor: meteors are not needed less than mountains:
     shine, perishing republic.
 But for my children, I would have them keep their distance from the
     thickening center; corruption
 Never has been compulsory, when the cities lie at the monster's feet there
     are left the mountains.

 And boys, be in nothing so moderate as in love of man, a clever servant,
     insufferable master.
 There is the trap that catches noblest spirits, that caught -- they say --
     God, when he walked on earth.
-- Robinson Jeffers
I thought this poem appropriate in light of recent events. It captures the
notions of America as the embodiment of many noble sentiments as well as its
inevitable failure to realize them. Jeffers gives us, as one critic put it,
cold comfort in the fact that our follies are somehow inevitable, part of a
greater cycle. It’s a humbling poem, not a pessimistic one, I think; it
reminds us to temper our love of humankind, but not extinguish it.

Issa

Links:
  Some excerpts from writings on the poem:
    http://www.english.uiuc.edu/maps/poets/g_l/jeffers/shine.htm

  A biography of Jeffers:
    http://www.english.uiuc.edu/maps/poets/g_l/jeffers/life.htm

  Both from the Jeffers page at
    http://www.english.uiuc.edu/maps/poets/g_l/jeffers/jeffers.htm