Subscribe: by Email | in Reader

What Any Lover Learns -- Archibald MacLeish

Guest poem submitted by Sanket:
(Poem #1886) What Any Lover Learns
Water is heavy silver over stone.
Water is heavy silver over stone's
Refusal. It does not fall. It fills. It flows
Every crevice, every fault of the stone,
Every hollow. River does not run.
River presses its heavy silver self
Down into stone and stone refuses.

                                    What runs,
Swirling and leaping into sun, is stone's
Refusal of the river, not the river.
-- Archibald MacLeish
Archibald MacLeish, American poet, playwright and speech-writer for F.
D. Roosevelt, wrote in his Ars Poetica, "A poem should not mean / But
be". This poem is calm and insightful, like a dispassionate observation.
It is interestingly titled "What Any Lover Learns".

The motion described happens not by the water but by the bedrock.

Sanket.

Boy at the Window -- Richard Wilbur

Guest poem submitted by Steve Chernicoff:
(Poem #1885) Boy at the Window
 Seeing the snowman standing all alone
 In dusk and cold is more than he can bear.
 The small boy weeps to hear the wind prepare
 A night of gnashings and enormous moan.
 His tearful sight can hardly reach to where
 The pale-faced figure with bitumen eyes
 Returns him such a god-forsaken stare
 As outcast Adam gave to Paradise.

 The man of snow is, nonetheless, content,
 Having no wish to go inside and die.
 Still, he is moved to see the youngster cry.
 Though frozen water is his element,
 He melts enough to drop from one soft eye
 A trickle of the purest rain, a tear
 For the child at the bright pane surrounded by
 Such warmth, such light, such love, and so much fear.
-- Richard Wilbur
Apropos of Martin's submission of "A Barred Owl" (Minstrels Poem #1849),
here's another by Richard Wilbur that I like. It deals with the same
themes Martin mentioned in his comments on the other poem, the
"domestication" of a child's fear and the "stark sense of the violence
that lurks in the mundane." Wilbur's image of the mutual pity between
boy and snowman is quite moving.

One thing I particularly like about Wilbur is his formal discipline. In
an age when most poets can't be bothered with such niceties as rhyme and
meter, Wilbur's poems are as rigorously and precisely structured as
anything from a Milton, Keats, or Tennyson. An exemplary illustration of
Robert Frost's definition of freedom as "moving easy in harness."

--Steve

A Southern Girl -- Samuel Minturn Peck

       
(Poem #1884) A Southern Girl
 Her dimpled cheeks are pale;
 She's a lily of the vale,
       Not a rose.
 In a muslin or a lawn
 She is fairer than the dawn
       To her beaux.

 Her boots are slim and neat, --
 She is vain about her feet,
       It is said.
 She amputates her r's,
 But her eyes are like the stars
       Overhead.

 On a balcony at night,
 With a fleecy cloud of white
       Round her hair --
 Her grace, ah, who could paint?
 She would fascinate a saint,
       I declare.

 'Tis a matter of regret,
 She's a bit of a coquette,
       Whom I sing:
 On her cruel path she goes
 With a half a dozen beaux
       To her string.

 But let all that pass by,
 As her maiden moments fly,
       Dew-empearled;
 When she marries, on my life,
 She will make the dearest wife
       In the world.
-- Samuel Minturn Peck
Note: lawn: A light cotton or linen fabric of very fine weave.
  [Middle English laun, after Laon, a city of northern France.]

This is a delightfully lighthearted poem, one that kept me smiling
throughout at its sheer, brazen refusal to take either itself or its
subject seriously. Furthermore (apart from the wonderful "half a dozen beaux
to her string" pun, and the reference to "amputated" 'r's) the humour seems
to lie almost entirely in the tone of the poem - no mean feat, considering
how many works of this sort either slip into a more heavy-handed sort of
mockery, or go the more "explicit humour" route.

Note, also, the wonderfully lilting rhythm of the poem - something that drew
me in from the first verse, even before I noticed Peck's gentle humour.
Again, it takes an excellent ear and a very deft touch to keep the poem from
being annoyingly sing-song. All in all, it was just enjoyable to read a poem
clearly written for the sheer fun of writing poetry, but written nonetheless
with excellent attention paid to style and detail.

martin

Links:
  There is a brief biography here:
    [broken link] http://www.pddoc.com/poems/#peck

To Raja Rao -- Czeslaw Milosz

Guest poem submitted by Prashant Paul:
(Poem #1883) To Raja Rao
 Raja, I wish I knew
 the cause of that malady.

 For years I could not accept
 the place I was in.
 I felt I should be somewhere else.

 A city, trees, human voices
 lacked the quality of presence.
 I would live by the hope of moving on.

 Somewhere else there was a city of real presence,
 of real trees and voices and friendship and love.

 Link, if you wish, my peculiar case
 (on the border of schizophrenia)
 to the messianic hope
 of my civilization.

 Ill at ease in the tyranny, ill at ease in the republic,
 in the one I longed for freedom, in the other for the end of
corruption.
 Building in my mind a permanent polis
 forever deprived of aimless bustle.

 I learned at last to say: this is my home,
 here, before the glowing coal of ocean sunsets,
 on the shore which faces the shores of your Asia,
 in a great republic, moderately corrupt.

 Raja, this did not cure me
 of my guilt and shame.
 A shame of failing to be
 what I should have been.

 The image of myself
 grows gigantic on the wall
 and against it
 my miserable shadow.

 That's how I came to believe
 in Original Sin
 which is nothing but the first
 victory of the ego.

 Tormented by my ego, deluded by it
 I give you, as you see, a ready argument.

 I hear you saying that liberation is possible
 and that Socratic wisdom
 is identical with your guru's.

 No, Raja, I must start from what I am.
 I am those monsters which visit my dreams
 and reveal to me my hidden essence.

 If I am sick, there is no proof whatsoever
 that man is a healthy creature.

 Greece had to lose, her pure consciousness
 had to make our agony only more acute.

 We needed God loving us in our weakness
 and not in the glory of beatitude.

 No help, Raja, my part is agony,
 struggle, abjection, self-love, and self-hate,
 prayer for the Kingdom
 and reading Pascal.
-- Czeslaw Milosz
        (Berkeley, 1969 )

I stumbled upon this poem(and Milosz) when searching for the writer Raja
Rao. By far one of the most brilliant that I have read, and it brings
forth the best of Milosz. (Raja Rao was a great Indian writer, and with
R. K. Narayan and Mulk Raj Anand considered one of the trinity of Indian
writers in english.)

To me some of the elements of the poem come from the time Milosz spent
his time at Berkeley away from his native place Poland, like the first
part. But the poem is also an accurate description of the struggle with
the present, and the hope for a change that changes everything. Two
striking ideas -- original sin and "...I must start from where I am...",
I really love the way they are written here.

An absolutely amazing poem in my book.

Prashant.

Hyacinths -- Muslih-uh-Din Sa'di

Guest poem submitted by Mac Robb:
(Poem #1882) Hyacinths
If of thy mortal goods thou art bereft,
And from thy slender store
Two loaves alone to thee are left,
Sell one, and with the dole
Buy hyacinths to feed thy Soul.
-- Muslih-uh-Din Sa'di
        (alt. Moslih Eddin Saadi)
        from "Gulistan" (The Garden of Roses), 13th century Persian.

Wandering through the Saturday produce and plant market yesterday (one
of the many delights of living in Australia) and wondering yet again how
these people make a living at this - clearly they're in it for the
entertainment and the social contact, judging from the number of times
it's "Oh, take another on the house" - I got into a conversation with
one of the stallholders who was flogging both pentas (a useful thing to
plant in these days of drought) and hyacinths.

So I of course wondered if he knew this primary school verse, which I
proceeded to recite. (Always a somewhat iffy sort of overture with
Australians: they react either with delight or alarm - some sort of
lunatic on our hands?) He didn't; neither did my companion. Can it be
that I never trotted it out for our children when they were young enough
to be receptive to instead of embarrassed by this sort of thing? But it
scored me a couple of free plants. (And reciting Constantine Kavafy's
"Ithaka" had previously got me rather a lot of olives from Greek guy who
hails from Ithaca. Perhaps I should take down my shingle and make a
living as a minstrel.)

Tracking down the provenance of this well-known verse isn't easy. Google
brings up innumerable plant nursery websites but very little in the way
of literary exegesis. It develops that it's from "The Garden of Roses,"
by the 13th century Persian Sufi poet Sa'di. But where does the
translation come from? Perhaps someone can enlighten me.

Mac Robb.
Brisbane, Australia.

Moslih Eddin (Muslih-un-Din) Saadi (Sa'di), Gulistan (Garden of Roses)
 http://www.poetry-chaikhana.com/S/Sadi/index.htm
 http://en.wikipedia.org/wiki/Saadi