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The Ballad of Yukon Jake -- Edward E Paramore Jr

Guest poem sent in by EB
(Poem #1171) The Ballad of Yukon Jake
Begging Robert W. Service's Pardon

 Oh the north countree is a hard countree
 That mothers a bloody brood;
 And its icy arms hold hidden charms
 For the greedy, the sinful and lewd.

 And strong men rust, from the gold and the lust
 That sears the Northland soul,
 But the wickedest born, from the Pole to the Horn,
 Is the Hermit of Shark Tooth Shoal.

 Now Jacob Kaime was the Hermit's name
 In the days of his pious youth,
 Ere he cast a smirch on the village Church
 By betraying a girl named Ruth.

 But now men quake at "Yukon Jake,"
 The Hermit of Shark-Tooth Shoal,
 For that is the name that Jacob Kaime
 Is known by from Nome to the Pole.

 He was just a boy and the parson's joy
 (Ere he fell for the gold and the muck),
 And had learned to pray, with the hogs and the hay
 On a farm near Keokuk.

 But a Service tale of illicit kale --
 And whisky and women wild --
 Drained the morals clean as a souptureen
 From this poor but honest child.

 He longed for the bite of a Yukon night
 And the Northern Light's weird flicker,
 Or a game of stud in the frozen mud,
 And the taste of raw red licker.

 He wanted to mush along in the slush,
 With a team of husky hounds;
 And to fire his gat at a beaver hat
 And knock it out of bounds.

 So he left his home for the hell-town Nome,
 On Alaska's ice-ribbed shores,
 And he learned to curse and to drink, and worse --
 Till the rum dripped from his pores.

 When the boys on a spree were drinking it free
 In a Malamute saloon,
 And Dan Megrew and his dangerous crew
 Shot craps with the piebald coon;

 When the Kid on his stool banged away like a fool
 At a jag-time melody,
 And the barkeep vowed, to the hard-boiled crowd,
 That he'd cree-mate Sam McGee --

 Then Jacob Kaime, who had taken the name
 Of Yukon Jake, the Killer,
 Would rake the dive with his forty-five
 Till the atmosphere grew chiller.

 With a sharp command he'd make 'em stand
 And deliver their hard-earned dust;
 Then drink the bar dry, of rum and rye,
 As a Klondike bully must.

 Without coming to blows he would tweak the nose
 Of Dangerous Dan Megrew,
 And becoming bolder, throw over his shoulder
 The lady that's known as Lou.

 Oh, tough as a steak was Yukon Jake --
 Hard-boiled as a picnic egg.
 He washed his shirt in the KIondike dirt,
 And drank his rum by the keg.

 In fear of their lives (or because of their wives)
 He was shunned by the best of his pals;
 An outcast he, from the comradery
 Of all but wild animals.

 So he bought him the whole of Shark-Tooth Shoal,
 A reef in the Bering Sea,
 And he lived by himself on a sea lion's shelf
 In lonely iniquity.

 But, miles away, in Keokuk, Ia.,
 Did a ruined maiden fight
 To remove the smirch from the village Church
 By bringing the heathen Light.

 And the Elders declared that all would be squared
 If she carried the holy words
 From her Keokuk home to the hell-town Nome
 To save those sinful birds.

 So, two weeks later, she took a freighter,
 For the gold-cursed land near the Pole,
 But Heaven ain't made for a lass that's betrayed --
 She was wrecked on Shark-Tooth Shoal!

 All hands were tossed in the Sea, and lost --
 All but the maiden Ruth,
 Who swam to the edge of the sea lion's ledge
 Where abode  the love of her youth.

 He was hunting a seal for his evening meal
 (He handled a mean harpoon)
 When he saw at his feet, not something to eat,
 But a girl in a frozen swoon,

 Whom he dragged to his lair by her dripping hair,
 And he rubbed her knees with gin, --
 To his great surprise, she opened her eyes
 And revealed -- his Original Sin!

 His eight-months beard grew stiff and weird,
 And it felt like a chestnut bur,
 And he swore by his gizzard -- and the Arctic blizzard,
 That he'd do right by her.

 Then the cold sweat froze on the end of her nose
 Till it gleamed like a Tecla pearl,
 While her bright hair fell, like a flame from hell,
 Down the back of the grateful girl.

 But a hopeless rake was Yukon Jake,
 The hermit of Shark Tooth Shoal!
 And the dizzy maid he rebetrayed
 And wrecked her immortal soul!...

 Then he rowed her ashore, with a broken oar,
 And he sold her to Dan McGrew
 For a husky dog and some hot eggnog --
 As rascals are wont to do.

 Now ruthless Ruth is a maid uncouth
 With scarlet cheeks and lips,
 And she sings rough songs to the drunken throngs
 That come from the sealing ships.

 For a rouge-stained kiss from this infamous miss
 They will give a seal's sleek fur,
 Or perhaps a sable, if they are able;
 It's much the same to her.

 Oh, the North Countree is a rough countree,
 That mothers a bloody brood;
 And its icy arms hold hidden charms
 For the greedy, the sinful and lewd.

 And strong men rust, from the gold and the lust
 That sears the Northland soul,
 But the wickedest born from the Pole to the Horn
 Was the Hermit of Shark-Tooth Shoal!
-- Edward E Paramore Jr
The Ballad of Yukon Jake, inspired an eponymous movie starring Ben Turpin
(1926.)  You need to be familiar with the work of Robert Service, at which
this poem pokes gentle fun, to fully appreciate Yukon Jake. 100 years ago
poems were as popular as movies and TV shows are today, and people
entertained themselves by reciting poems, such as Service's, so that a boy
might hear and be influenced by one; and "a Service tale of illicit
kale--and whiskey and women wild--sucked the morals clean as a soup tureen
from this poor but honest child" was a plausible plot turn.

This line illustrates Paramore's great use of rhyme and meter--somehow it's
right, but not quite right, so it's hilarious.  My uncle grew up in the
twilight of that age, and sometimes he would recite this poem with the skill
of a professional actor.  Some poems need to be spoken aloud;  this is one
of them.  Enjoy.

EB

Paramore appears to have been a screenwriter - couldn't find a biography,
but here's his filmography:
  [broken link] http://movies.yahoo.com/shop?d=hc&id=&cf=gen&intl=us

And here are some Service poems, if you're unfamiliar with his work:
  [broken link] http://www.cs.rice.edu/~ssiyer/minstrels/index_poet_S.html#Service

Annabel Lee -- Edgar Allan Poe

Back to the movies theme, here's a guest poem sent in by Mallika Chellappa
(Poem #1170) Annabel Lee
 It was many and many a year ago,
     In a kingdom by the sea,
 That a maiden there lived whom you may know
     By the name of ANNABEL LEE;--
 And this maiden she lived with no other thought
     Than to love and be loved by me.
 She was a child and I was a child,
     In this kingdom by the sea,
 But we loved with a love that was more than love--
     I and my Annabel Lee--
 With a love that the winged seraphs of heaven
     Coveted her and me.

 And this was the reason that, long ago,
     In this kingdom by the sea,
 A wind blew out of a cloud by night
     Chilling my Annabel Lee;
 So that her high-born kinsman came
     And bore her away from me,
 To shut her up in a sepulchre
     In this kingdom by the sea.

 The angels, not half so happy in Heaven,
     Went envying her and me:--
 Yes! that was the reason (as all men know,
     In this kingdom by the sea)
 That the wind came out of a cloud, chilling
     And killing my Annabel Lee.

 But our love it was stronger by far than the love
     Of those who were older than we--
     Of many far wiser than we-
 And neither the angels in Heaven above,
     Nor the demons down under the sea,
 Can ever dissever my soul from the soul
     Of the beautiful Annabel Lee:--

 For the moon never beams without bringing me dreams
     Of the beautiful Annabel Lee;
 And the stars never rise but I see the bright eyes
     Of the beautiful Annabel Lee;
 And so, all the night-tide, I lie down by the side
 Of my darling, my darling, my life and my bride,
     In her sepulchre there by the sea--
     In her tomb by the side of the sea.
-- Edgar Allan Poe
This poem has to its credit (to my knowledge) two cinematic references.

One was a short chocolate box feature with a young couple picnicking on the
sea shore, with the poem recited in the background. I didn't pay any
attention to the credits.

The other was "Play Misty for me" the 1971 precursor to "Fatal Attraction",
with Clint Eastwood, Donna Mills, and Jessica Walter, who, as Evelyn, takes
on the name of Annabel in the movie. This was Eastwood's directorial debut.

Actully, this poem is very much in Poe's obsession vein - a la "The Raven"
and all his horror stories. I can't say it's really one of my favourites,
unlike the Raven, which is. However, the cinematography of the short feature
film was superb.

Mallika

Poetry -- Marianne Moore

Four years and counting!
(Poem #1169) Poetry
 I, too, dislike it: there are things that are important beyond
       all this fiddle.
    Reading it, however, with a perfect contempt for it, one
       discovers in
    it after all, a place for the genuine.
       Hands that can grasp, eyes
       that can dilate, hair that can rise
          if it must, these things are important not because a

 high-sounding interpretation can be put upon them but because
       they are
    useful. When they become so derivative as to become
       unintelligible,
    the same thing may be said for all of us, that we
       do not admire what
       we cannot understand: the bat
          holding on upside down or in quest of something to

 eat, elephants pushing, a wild horse taking a roll, a tireless
       wolf under
    a tree, the immovable critic twitching his skin like a horse
       that feels a flea, the base-
    ball fan, the statistician--
       nor is it valid
          to discriminate against "business documents and

 school-books"; all these phenomena are important. One must make
       a distinction
    however: when dragged into prominence by half poets, the
       result is not poetry,
    nor till the poets among us can be
      "literalists of
       the imagination"--above
          insolence and triviality and can present

 for inspection, "imaginary gardens with real toads in them,"
       shall we have
    it. In the meantime, if you demand on the one hand,
    the raw material of poetry in
       all its rawness and
       that which is on the other hand
          genuine, you are interested in poetry.
-- Marianne Moore
I was planning to run Dylan Thomas's "Notes on the Art of Poetry" as a fourth
anniversary poem, but, although I agreed with everything it had to say, it
didn't really *move* me. Moore's "Poetry", on the other hand, did, so here it
is.

So, what is it about the poem that I so liked? I'm not sure - maybe I just
appreciate the exquisite poetry hiding under the matter-of-fact facade (to
say nothing of the rigid form (see the commentary on Poem #1043 for a
description of Moore's syllable counted verse) hidden under an illusion of
free verse), or because I like the penetrating originality of phrases like
'imaginary gardens with real toads in them'.

Oddly enough, I *agree* with Moore a lot less than I do with Thomas - in
particular, "these things are important...because they are useful" made me
twitch. Of course, that raises the question of how seriously to take the
poem (I mean, how seriously *should* one take a poem titled 'poetry' and
beginning "I too dislike it"?). I'm not really sure what Moore is trying to
say, in the end - indeed, at times she appears to be treading a fine line
between poetry and something perilously close to antipoetry.

The case for an assumed voice is all the more compelling in that it looks
like Moore is distinguishing not just between the genuine and the
*artificial* (or more closely, between genuine poetry and poetry that is
what I like to call capital-L Literature), but between the rough and the
finished. If in "Poetry's" distaste for the 'high-sounding interpretation'
it eschews artifice, it also seems to want craft to fall by the wayside -
between the "raw material of poetry" and the "genuine", there seems very
little room for the careful and precise shaping of words that - ironically -
today's poem is an excellent example of.

Contrast (our) Thomas's commentary on Poem #1043:
  Archibald MacLeish famously wrote:
     "A poem should not mean
      But be."
  I can think of no poet who so consistently fulfils MacLeish's dictum as
  Marianne Moore.

  Randall Jarrell talks of "her lack -- her wonderful lack -- of arbitrary
  intensity or violence, of sweep and overwhelmingness and size, of cant, of
  sociological significance". Her poems simply exist; they "cannot be
  suborned to any end but their own" [1]. They are elegant and precise;
  carefully constructed and meticulously detailed; and always, always,
  wonderfully rewarding.

and the paradox falls into clearer focus - today's poem seems to be all
about Meaning, but when you step back and take a look at it, it just Is.
And, as Thomas noted, few people do that better than Moore.

martin

p.s. The poems-from-the-movies theme will be back tomorrow - think of this
as the intermission.

Links:
  There's an extensive set of comments on the poem and its extensive
  revision history here:
    http://www.english.uiuc.edu/maps/poets/m_r/moore/poetry.htm

  Two things I liked were the argument that Moore was distinguishing between
  'poetry' and 'Poetry' (compare my earlier derogatory usage of Literature),
  and the following note:
    Another manifestation of the interrogation of authority in "Poetry"
    developed across Moore's revisions of it over the years. The poem was
    well known and well liked, in all its subversive playfulness. But its
    argument created problems for its poet. For if it was "genuine" on first
    publication, once it became well known, by its own lights it lost some
    of its genuineness. For later publications, Moore revised the poem
    substantially and managed in so doing to disperse some of the
    familiarity. Finally Moore cut the poem to three lines, and printed one
    of the longer versions in the endnotes. The short version reads:

      Poetry
      I, too, dislike it.
          Reading, it, however, with a perfect contempt for it, one discovers
in it, after all, a place for the genuine.

- And for the discovery of today's poem, I'm indebted to the excellent
  collection of metapoems at http://www.tnellen.com/cybereng/poetry/index.html

The Good-morrow -- John Donne

Guest poem sent in by Victoria Field
(Poem #1168) The Good-morrow
 I wonder by my troth, what thou and I
 Did, till we lov'd? Were we not wean'd till then,
 But suck'd on country pleasures, childishly?
 Or snorted we in the seven sleepers' den?
 'Twas so; but this, all pleasures fancies be.
 If ever any beauty I did see,
 Which I desir'd, and got, 'twas but a dream of thee.

 And now good morrow to our waking souls,
 Which watch not one another out of fear;
 For love, all love of other sights controls,
 And makes one little room, an everywhere.
 Let sea-discoverers to new worlds have gone,
 Let maps to other, worlds on worlds have shown,
 Let us possess one world, each hath one, and is one.

 My face in thine eye, thine in mine appears,
 And true plain hearts do in the faces rest;
 Where can we find two better hemispheres,
 Without sharp north, without declining west?
 Whatever dies, was not mix'd equally;
 If our two loves be one, or, thou and I
 Love so alike, that none do slacken, none can die.
-- John Donne
This is going back quite a way but, the 1949 movie of 'The Blue Lagoon'
(starring a young Jean Simmonds and considered risque at the time), features
a reading of 'The Good Morrow' by John Donne - surely one of the most
exquisite and subtle love poems of all time.

Victoria

[Martin adds]

Langdon Smith's "Evolution" [Poem #550] strikes me as a perfect reply to the
opening lines of the poem. "Good morrow to our waking souls" also contrasts
amusingly with "Busy old fool, unruly Sun" :)

Links:

http://eir.library.utoronto.ca/rpo/display/poem655.html has some notes on
the poem

Wallace (extract) -- Blind Harry

Carrying on with the theme, a guest poem sent in by Anustup Datta
(Poem #1167) Wallace (extract)
 Of our ancestors, brave true ancient Scots,
 Whose glorious scutcheons knew no bars or blots;
 But blood untainted circled ev'ry vein,
 And ev'ry thing ignoble did disdain;
 Of such illustrious patriots and bold,
 Who stoutly did maintain our rights of old,
 Who their malicious, invet'rate foes,
 With sword in hand, did gallantly oppose:
 And in their own, and nation's just defence,
 Did briskly check the frequent insolence
 Of haughty neighbours, enemies profest,
 Picts, Danes, and Saxons, Scotland's very pest;
 Of such, I say, I'll brag and vaunt so long
 As I have power to use my pen or tongue;
 And sound their praises in such modern strain
 As suiteth best a Scot's poetic vein,
 First, here I honour, in particular,
 Sir William Wallace, much renown'd in war,
 Whose bold progenitors have long time stood,
 Of honourable and true Scottish blood.
-- Blind Harry
        (15th c., trans. William of Gilbertfield, 1722)

Note: Variously titled - everything from "Wallace" to "The Life and
Heroic Actions of the Renoun'd Sir William Wallace, General and Governor
of Scotland"

Then there is the "The Life of Sir William Wallace", which, if I'm not
mistaken was used in "Braveheart". (Today's extract is the opening lines
of the poem.)  The book became the most popular volume in Scotland after
the Bible. It inspired Burns to write "Scots Wha Hae" and Randall
Wallace also read them prior to his involvement in creating the film
"Braveheart." A modern edition of this epic poem was published in 1998.

Anustup

[Martin adds]

I was surprised I'd never heard of this; anyway, I enjoyed reading bits
and pieces of it (no, I was not about to sit and read the whole thing
through :)), and exploring some of the background behind the poem and
Blind Harry (who, if you believe all the critics, was neither).

And as an aside, it always gives me a pleasant little frisson to see,
among all the 18th century English, a startlingly modern-looking phrase
like

  So much for the brave Wallace's father's side

- it's like an interesting little linguistic tidepool hidden among the
rocks.

Links:

The whole book can be found at [broken link] http://skell.org/SKELL/blharry1.htm

An excellent discussion of 'Braveheart' and the poem:
  [broken link] http://www.unf.edu/classes/medieval/film/halsall-krossa-braveheart.htm

A biography of Blind Harry:
  http://www.bartleby.com/65/bl/BlindHar.html

And a discourse on "The Wallace" and its place in the canon:
  http://www.bartleby.com/212/0503.html

martin