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Magna est Veritas -- Coventry Patmore

       
(Poem #1641) Magna est Veritas
 Here, in this little Bay,
 Full of tumultuous life and great repose,
 Where, twice a day,
 The purposeless, glad ocean comes and goes,
 Under high cliffs, and far from the huge town,
 I sit me down.

 For want of me the world’s course will not fail;
 When all its work is done, the lie shall rot;
 The truth is great, and shall prevail,
 When none cares whether it prevail or not.
-- Coventry Patmore
      (1823 - 1896)

Note: The title is Latin, and means "Great is the Truth"

Although today's poem touches upon several age-old themes, I don't think
I've seen them combined in quite this way. I like the quiet, reflective tone
of the poem, the image of a man sitting by the seashore contemplating his
insignificance in the grand scheme of things, but comforted rather than
otherwise by the thought. And the final two lines are unexpected and
thought-provoking; the usual sentiment is that Truth shall prevail against a
sea of lies, or against all efforts to quash it, or something similarly
hostile. But as Patmore implicitly points out, indifference is often
deadlier to a cause than any amount of opposition; the truth that shall
prevail "when none cares whether it prevail or not" is great indeed.

martin

[Links]

Biography:
 http://www.iath.virginia.edu/courses/ennc986/class/bios/patmore.html
 http://www.victorianweb.org/authors/patmore/bioov.html

You know, my Friends, how Long since in my House -- Omar Khayyam

Guest poem submitted by M. Shamanth :
(Poem #1640) You know, my Friends, how Long since in my House
 You know, my Friends, how long since in my House
 For a new Marriage I did make Carouse:
 Divorc'd old barren Reason from my Bed,
 And took the Daughter of the Vine to Spouse.

 For "IS" and "IS-NOT" though with Rule and Line,
 And "UP-AND-DOWN" without I could define,
 I yet in all I only cared to know,
 Was never deep in anything but--Wine.

 And lately, by the Tavern Door agape,
 Came stealing through the Dusk an Angel Shape
 Bearing a Vessel on his Shoulder; and
 He bid me taste of it; and 'twas--the Grape!

 The Grape that can with Logic absolute
 The Two-and-Seventy jarring Sects confute:
 The subtle Alchemist that in a Trice
 Life's leaden Metal into Gold transmute:

 The mighty Mahmúd, the victorious Lord,
 That all the misbelieving and black Horde
 Of Fears and Sorrows that infest the Soul
 Scatters and slays with his enchanted Sword.

 But leave the Wise to wrangle, and with me
 The Quarrel of the Universe let be:
 And, in some corner of the Hubbub coucht,
 Make Game of that which makes as much of Thee.

 For in and out, above, about, below,
 'Tis nothing but a Magic Shadow-show,
 Play'd in a Box whose Candle is the Sun,
 Round which we Phantom Figures come and go.

 And if the Wine you drink, the Lip you press,
 End in the Nothing all Things end in--Yes--
 Then fancy while Thou art, Thou art but what
 Thou shalt be--Nothing--Thou shalt not be less.

 While the Rose blows along the River Brink,
 With old Khayyám the Ruby Vintage drink:
 And when the Angel with his darker Draught
 Draws up to Thee--take that, and do not shrink.

 'Tis all a Chequer-board of Nights and Days
 Where Destiny with Men for Pieces plays:
 Hither and thither moves, and mates, and slays,
 And one by one back in the Closet lays.

 The Ball no Question makes of Ayes and Noes,
 But Right or Left as strikes the Player goes;
 And He that toss'd Thee down into the Field,
 He knows about it all--HE knows--HE knows!

 The Moving Finger writes; and, having writ,
 Moves on: nor all thy Piety nor Wit
 Shall lure it back to cancel half a Line,
 Nor all thy Tears wash out a Word of it.

 And that inverted Bowl we call The Sky,
 Whereunder crawling coop't we live and die,
 Lift not thy hands to It for help--for It
 Rolls impotently on as Thou or I.

 With Earth's first Clay They did the Last Man's knead,
 And then of the Last Harvest sow'd the Seed:
 Yea, the first Morning of Creation wrote
 What the Last Dawn of Reckoning shall read.
-- Omar Khayyam
Fitzgerald's rendition of the Rubaiyat of Omar Khayyam is a wonderful piece
of hedonist literature. Sometimes depressing with its allusions to fatalism,
sometimes a glimmering beacon of hope with its evocation of hope and
possibility, but always wonderfully beautiful, carried  upon the stilts of
idioms and proverbs that give a brilliant clarity, this is a piece of verse
that invigorates, makes you sit up every time you look at it, makes you
murmur a silent thanks for everything beautiful in life and hope that you
don't get carried by cares and worries that infest life. It gives you the
belief that perhaps you can walk away from it all, follow yourself, seek
pleasures that you've always longed for.

Shamanth.

[Minstrels Links]

The Rubaiyat of Omar Khayyam:
  Poem #162, Awake! for Morning in the Bowl of Night
  Poem #342, Oh, come with old Khayyam, and leave the Wise
  Poem #545, The Moving Finger Writes; and, Having Writ
  Poem #654, Think, in this Batter'd Caravanserai
  Poem #750, Here with a Loaf of Bread beneath the Bough
  Poem #1354, Ah, Love!, Could Thou and I with Fate Conspire

In Prison -- William Morris

       
(Poem #1639) In Prison
 Wearily, drearily,
 Half the day long,
 Flap the great banners
 High over the stone;
 Strangely and eerily
 Sounds the wind's song,
 Bending the banner-poles.

 While, all alone,
 Watching the loophole's spark,
 Lie I, with life all dark,
 Feet tether'd, hands fetter'd
 Fast to the stone,
 The grim walls, square-letter'd
 With prison'd men's groan.

 Still strain the banner-poles
 Through the wind's song,
 Westward the banner rolls
 Over my wrong.
-- William Morris
    (1834-1896)

What fascinated me about today's poem was the interplay between form and
content. The subject material is appropriately sombre - but my first
impression was an almost startled reaction to the bouncily dactylic metre of
the first line[1]. As the poem progresses, there is the continual tension
between the clever, almost playful form and the increasingly grim depiction
of the prison. (Note, in addition to the metre, the beautifully intricate
abcdabe dffgdgd ebeb rhyme scheme, indeed, this is about as complex a rhyme
scheme as I've ever seen in a poem that wasn't adhering to some "named"
form.)

That tension is beautifully resolved in the last verse, indeed in the last two
lines - the lines "westward the banner rolls/ over my wrong" have exactly
the air of finality, the implacable ring of a closing door, to cast a
tomblike pall over the rest of the poem, and convey the fact that yes, the
narrator is in prison, and it is indeed a grim fate to befall anyone.

martin

[1] indeed, the rhyming 'wearily, drearily' foreshadows one of my favourite
forms, the decidedly unsolemn double dactyl

[Links]

Astoundingly, we've run no poems by William Morris, who in addition to being
a delightful poet was an impressive polymath. Here's some biographies:

  http://www.hrc.utexas.edu/exhibitions/online/morris/
  http://www.kirjasto.sci.fi/wmorris.htm

And a link to some more of his poems:

  [broken link] http://www.poemhunter.com/william-morris/poet-6941/

The Rover -- Robert Service

Guest poem submitted by Jeff Huo:

With your indulgence, I would like to present the commentary first, and then
the poem:

=====

References from multiple on-line sources, available upon request.

To just one day ditch the 9-to-5 grind and drive off in pursuit of
adventure. To toss the staid, predicable, tie-and-pressed shirt routine to
the wind and go off into the unknown. Most of us have entertained those
fantasies at one time or another. Robert William Service did it.

Robert Service had started out following in his father's footsteps, working
in banking.  For years he put in his 9:30 to 4:00 at the Commercial Bank of
Scotland with diligence, earning promotions and an ever-increasing salary.
The ordinary, predictable, respectable life of the middle class professional
was what he lived. Up until the day in 1896 he resigned from his bank job,
took his carefully amassed savings, and headed out for the wild, undeveloped
Canadian frontier.

No impulsive fancy was this -- it was the culmination of many years of
aspirations and planning.  His imagination had been fired by the works of
Kipling and Stevenson and other adventurers and world travellers.  He saved
money carefully to fund the journey. He exercised to build up his physical
condition. And most of all, he developed the habits of hard work and mental
discipline necessary to succeed in such a journey. Even as he put in his
hours at the office, to an ultimate goal of leaving that ordinary office
life he worked.  And finally after years of work, he set his plans in
motion,  crossed almost halfway around the world, across the Atlantic and
then across the entire Canadian landmass, to pursue the life of adventure on
the frontier he had thought about for so long.

Over the next many years, Robert travelled from Vancouver to Seattle to San
Francisco.  He worked as a farmhand, a cow herder, a miner, a road worker,
even a handyman in a bordello.  Eventually, up to the Yukon Gold country he
found his way. And it was while up there that Robert Service, based on the
stories he heard around him and the stories he had lived, wrote the poems --
"The Cremation of Sam McGee" [Poem #698], "The Law of the Yukon" [Poem
#781], "The Shooting of Dan McGrew" [Poem #1126] and many others -- that
first made him both famous and wealthy.

By the age of thirty-nine, Robert Service had lived as much as a dozen
ordinary men. He had been end to end repeatedly across the North American
continent, from Cuba to California to the Klondike. He had braved the wild
Edmonton Trail.  He had done almost everything one could think of in the
wildernesses of the North and captured the wild spirit of those lands in
poetry.  And he had won acclaim as the unofficial poet laureate of the
Canadian high north, both by the world at large and, perhaps more
importantly, by his fellows who lived there with him.  And it was at the age
of thirty-nine, in 1913, that after half a lifetime of adventure and travel,
bouncing from mining camp to boomtown, Robert Service found both love and a
permanent home.

He had gone to Europe in 1912 as a war correspondent. While there, in 1913
he met -- and married -- a French lady named Germaine Bourgoin.  He
purchased a home at Lancieux, on the Emerald Coast of Brittany, just west of
Dinard.  Robert Service's adventures weren't quite over -- he drove an
ambulance during the fighting at Verdun, he reported from many of the
battlefield fronts of World War I, he made movies in Hollywood.  But
largely, the remaining forty-six years of his life he would spend there in
France, until he died in 1958, surrounded by family, at the home on the
ocean he came to call "Dream Haven".

And it is that context that I think frames the poem I would like to present,
"The Rover", from his collection "Rhymes of a Rolling Stone". Two parts the
poem is: the first half glorifying the wild life of adventure with nothing
to tie one down; the second half wistful for the comforts of a place to call
one's own and the love of a lady to welcome one there. Both these things
Robert Service lived; both these things Robert knew.  He had lived the wild
life of excitement.  He was later blessed with the joys of loving family and
warm home.  When one considers this poem against the narrative of the life
of the poet who wrote it, it seems almost a perfect encapsulation of all
that he felt and all that drove him: and in the very last few lines, you can
easily imagine that the poet is speaking, heartfelt, for himself -- and for
so many of us.

=====
(Poem #1638) The Rover
 Oh, how good it is to be
 Foot-loose and heart-free!
 Just my dog and pipe and I, underneath the vast sky;
 Trail to try and goal to win, white road and cool inn;
 Fields to lure a lad afar, clear spring and still star;
 Lilting feet that never tire, green dingle, fagot fire;
 None to hurry, none to hold, heather hill and hushed fold;
 Nature like a picture book, laughing leaf and bright brook;
 Every day a jewel bright, set serenely in the night;
 Every night a holy shrine, radiant for a day divine.

       Weathered cheek and kindly eye, let the wanderer go by.
       Woman-love and wistful heart, let the gipsy one depart.
       For the farness and the road are his glory and his goad.
       Oh, the lilt of youth and Spring! Eyes laugh and lips sing.

    Yea, but it is good to be
    Foot-loose and heart-free!

 Yet how good it is to come
 Home at last, home, home!
 On the clover swings the bee, overhead's the hale tree;
 Sky of turquoise gleams through, yonder glints the lake's blue.
 In a hammock let's swing, weary of wandering;
 Tired of wild, uncertain lands, strange faces, faint hands.

       Has the wondrous world gone cold? Am I growing old, old?
       Grey and weary . . . let me dream, glide on the tranquil stream.
       Oh, what joyous days I've had, full, fervid, gay, glad!
       Yet there comes a subtile change, let the stripling rove, range.
       From sweet roving comes sweet rest, after all, home's best.
       And if there's a little bit of woman-love with it,
       I will count my life content, God-blest and well spent. . . .

    Oh but it is good to be
    Foot-loose and heart-free!
    Yet how good it is to come
    Home at last, home, home!
-- Robert Service
=====

Thank you,
Jeff.

Theme for English B -- Langston Hughes

       
(Poem #1637) Theme for English B
 The instructor said,

     Go home and write
     a page tonight.
     And let that page come out of you --
     Then, it will be true.

 I wonder if it's that simple?
 I am twenty-two, colored, born in Winston-Salem.
 I went to school there, then Durham, then here
 to this college on the hill above Harlem.
 I am the only colored student in my class.
 The steps from the hill lead down into Harlem
 through a park, then I cross St. Nicholas,
 Eighth Avenue, Seventh, and I come to the Y,
 the Harlem Branch Y, where I take the elevator
 up to my room, sit down, and write this page:

 It's not easy to know what is true for you or me
 at twenty-two, my age. But I guess I'm what
 I feel and see and hear, Harlem, I hear you:
 hear you, hear me -- we two -- you, me, talk on this page.
 (I hear New York too.) Me -- who?
 Well, I like to eat, sleep, drink, and be in love.
 I like to work, read, learn, and understand life.
 I like a pipe for a Christmas present,
 or records -- Bessie, bop, or Bach.
 I guess being colored doesn't make me NOT like
 the same things other folks like who are other races.
 So will my page be colored that I write?
 Being me, it will not be white.
 But it will be
 a part of you, instructor.
 You are white --
 yet a part of me, as I am a part of you.
 That's American.
 Sometimes perhaps you don't want to be a part of me.
 Nor do I often want to be a part of you.
 But we are, that's true!
 As I learn from you,
 I guess you learn from me --
 although you're older -- and white --
 and somewhat more free.

 This is my page for English B.
-- Langston Hughes
       1951

Writing about writing is overdone to the point where it has almost become a
cliche - but that is not to say that the genre has not produced some
excellent poems. Indeed, if the old aphorism to "write what you know" is
true, poetry is surely one subject that poets are uniquely qualified to
write about. ("There's nothing to writing", as Walter Smith famously
remarked, "All you do is sit down at a typewriter and open up a vein.")

In today's poem, Hughes reexamines the age old topic of whether a poem
is actually two different poems when viewed in the context the writer's
experiences and that of the reader's, and the inevitable follow up about
what that says about the "validity" of the poem. This is a poem on two
levels, though - not a clever but sterile Metaphysical conceit on the
Nature of Truth, or a Romantic intertwining of Truth and Beauty, but a
deeply personal narrative that speaks truth even while questioning it, that
communicates with the reader in the very act of wondering whether such
communication is possible.

And above all, the poem's genius lies in the way its "voice" retains a
certain "English B" naivete, a diffidence that draws the reader in right
from the beginning, and prevents the poem from becoming sententious or
preachy when it draws into its conclusion and moves from questions to
statements. In the hands of a lesser poet, this poem could well have fallen
flat - indeed, the lack of a metrical structure and the banality of the
subject might well have led me to wonder just why this was even considered
poetry. Instead, I am left marvelling - as I often have occasion to do - at
the way in which a good poet can touch even the most timeworn of themes with
an indefinable, magical *something*, and leave it glowing with life.

martin

[Links]

There's a biography after Poem #410