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Very Like a Whale -- Ogden Nash

Guest poem submitted by :
(Poem #854) Very Like a Whale
 One thing that literature would be greatly the better for
 Would be a more restricted employment by the authors of simile and
    metaphor.
 Authors of all races, be they Greeks, Romans, Teutons or Celts,
 Can't seem just to say that anything is the thing it is but have to
    go out of their way to say that it is like something else.
 What does it mean when we are told
 That that Assyrian came down like a wolf on the fold?
 In the first place, George Gordon Byron had enough experience
 To know that it probably wasn't just one Assyrian, it was a lot of
    Assyrians.
 However, as too many arguments are apt to induce apoplexy and
    thus hinder longevity.
 We'll let it pass as one Assyrian for the sake of brevity.
 Now then, this particular Assyrian, the one whose cohorts were
    gleaming in purple and gold,
 Just what does the poet mean when he says he came down like a
    wold on the fold?
 In heaven and earth more than is dreamed of in our philosophy
    there are great many things.
 But I don't imagine that among them there is a wolf with purple
    and gold cohorts or purple and gold anythings.
 No, no, Lord Byron, before I'll believe that this Assyrian was
    actually like a wolf I must have some kind of proof;
 Did he run on all fours and did he have a hairy tail and a big red
    mouth and big white teeth and did he say Woof Woof?
 Frankly I think it is very unlikely, and all you were entitled to say,
    at the very most,
 Was that the Assyrian cohorts came down like a lot of Assyrian
    cohorts about to destroy the Hebrew host.
 But that wasn't fancy enough for Lord Byron, oh dear me no, he
    had to invent a lot of figures of speech and then interpolate them,
 With the result that whenever you mention Old Testament soldiers
    to people they say Oh yes, they're the ones that a lot of
    wolves dressed up in gold and purple ate them.
 That's the kind of thing that's being done all the time by poets,
    from Homer to Tennyson;
 They're always comparing ladies to lilies and veal to venison,
 And they always say things like that the snow is a white blanket
    after a winter storm.
 Oh it is, is it, all right then, you sleep under a six-inch blanket of
    snow and I'll sleep under a half-inch blanket of unpoetical
    blanket material and we'll see which one keeps warm,
 And after that maybe you'll begin to comprehend dimly
 What I mean by too much metaphor and simile.
-- Ogden Nash
This is one of my favourite poems by Nash, and seems to build on various
threads running through the Minstrels at the moment (large animals (though
alas no hippopotami), nonsense verse etc!). It is the irreligious tone
combined with the air of the ridiculous that is present throughout that
gives this poem its essence for me. Throughout he is attempting to puncture
the balloon of ostentation that poetry sometimes clouds itself in. The
deliberate misquotes combined with the animal noises ("Woof Woof!")!) give
the poem an air of intelligent farce, that I don't feel is overdone.

[Minstrels Links]

The infamous Assyrian poem:
Poem #718, The Destruction of Sennacherib -- George Gordon, Lord Byron

Poems by Ogden Nash:
Poem #402, Portrait of the Artist as a Prematurely Old Man
Poem #542, Will Consider Situation
Poem #625, The Sniffle
Poem #667, Reflections on Ice-Breaking
Poem #848, The Hippopotamus
Poem #325, Common Cold
Poem #353, PG Wooster, Just as he Useter
Poem #388, Kipling's Vermont

Stew Much -- Sukumar Ray

Guest poem submitted by Rohit Jaisingh:
(Poem #853) Stew Much
 A duck once met a porcupine; they formed a corporation
 Which called itself a Porcuduck (a beastly conjugation!).

 A stork to a turtle said, "Let's put my head upon your torso;
 We who are so pretty now, as Stortle would be more so!"

 The lizard with the parrot's head thought: taking to the chilli
 After years of eating worms is absolutely silly.

 A prancing goat - one wonders why - was driven by a need
 To bequeath its upper portion to a crawling centipede.

 The giraffe with grasshopper's limbs reflected: Why should I
 Go for walks in grassy fields, now that I can fly?

 The nice contented cow will doubtless get a frightful shock
 On finding that its lower lombs belong to a fighting cock.

 It's obvious the Whalephant is not a happy notion:
 The head goes for the jungle, while the tail turns to the ocean,

 The lion's lack of horns distressed him greatly, so
 He teamed up with a deer - now watch his antlers grow!
-- Sukumar Ray
Translated by Satyajit Ray.
The Bengali version is titled "Haans chilo sojaru".

Given the level of interest in nonsense verse among the people on the
mailing list, I'm surprised that Sukumar Ray has not yet been run. Perhaps
it has to do with the paucity of good translations from the original
Bengali. The only one in wide circulation that I know of is Sukanta
Chaudhuri's.

At one level, this poem is wondrous for its vivid imagery. It evokes a
delightful and uninhibited response, like the tinkling laughter of a child -
spontaneous and devoid of any pollution.

At another level, one can draw analogies to the attempts to combine
incongruent units into a composite whole. Think of parallels in personal
relationships, (and here I run the risk of courting controversy) arranged
marriages, the North-South divide, mergers of companies ...

Rohit.

[More on Sukumar Ray]

Sukumar Ray was one of the leading figures in that flowering of Bengali
culture that occurred in the early years of the 20th century. Sadly, his
work remains little known outside his homeland; recent translations by
Sukanta Chaudhuri and Ray's (rather more famous) son Satyajit barely scratch
the surface of his wit and invention.

[broken link] http://www.geocities.com/Athens/Academy/1555/sukumar/ is a fairly
comprehensive Ray site; it includes biographical information, time lines,
links, and a generous selection of his work (including the entire text of
his masterpiece, "Abol-Tabol"). Two caveats, though: much of the textual
material is in the original (Bengali) script, and the HTML of the site
itself is rather buggy.

Sukanta Chaudhuri's "The Select Nonsense of Sukumar Ray" is available on
Amazon.

[Minstrels Links]

Other poems translated from the Bengali:
Poem #177, Where The Mind is Without Fear  -- Rabindranath Tagore
Poem #367, Krishnakali  -- Rabindranath Tagore
Poem #673, The Flower-School -- Rabindranath Tagore
Poem #446, Banalata Sen  -- Jibanananda Das
Poem #662, Cat -- Jibanananda Das

Other nonsense poems:
Poem #91, Cottleston Pie  -- A. A. Milne
Poem #369, The Cantelope  -- Bayard Taylor
Poem #99, Nephelidia  -- Algernon Charles Swinburne
Poem #849, Sir Beelzebub -- Edith Sitwell
Poem #165, The Owl and the Pussy-Cat  -- Edward Lear
Poem #297, The Pobble Who Has No Toes  -- Edward Lear
Poem #356, The Akond of Swat  -- Edward Lear
Poem #378, There Was an Old Man with a Beard  -- Edward Lear
Poem #628, The Dong with a Luminous Nose -- Edward Lear
Poem #120, The Purple Cow  -- Gelett Burgess
Poem #444, Contours  -- Noel Coward
Poem #161, The Yarn of the Nancy Bell -- W. S. Gilbert
Poem #247, To Sit In Solemn Silence -- W. S. Gilbert
Poem #505, The Story of Prince Agib -- W. S. Gilbert
Poem #52, Jabberwocky  -- Lewis Carroll
Poem #265, The Mad Gardener's Song  -- Lewis Carroll
Poem #347, The Walrus and the Carpenter  -- Lewis Carroll
Poem #600, The Mouse's Tale -- Lewis Carroll

Mariana in the Moated Grange -- Alfred, Lord Tennyson

Guest poem submitted by Anustup Datta:
(Poem #852) Mariana in the Moated Grange
 With blackest moss the flower-plots
 Were thickly crusted, one and all:
 The rusted nails fell from the knots
 That held the pear to the gable-wall.
 The broken sheds look'd sad and strange:
 Unlifted was the clinking latch;
 Weeded and worn the ancient thatch
 Upon the lonely moated grange.
 She only said, "My life is dreary,
 He cometh not," she said;
 She said, "I am aweary, aweary,
 I would that I were dead!"

 Her tears fell with the dews at even;
 Her tears fell ere the dews were dried;
 She could not look on the sweet heaven,
 Either at morn or eventide.
 After the flitting of the bats,
 When thickest dark did trance the sky,
 She drew her casement-curtain by,
 And glanced athwart the glooming flats.
   She only said, "The night is dreary,
   He cometh not," she said;
   She said, "I am aweary, aweary,
   I would that I were dead!"

 Upon the middle of the night,
 Waking she heard the night-fowl crow:
 The cock sung out an hour ere light:
 From the dark fen the oxen's low
 Came to her: without hope of change,
 In sleep she seem'd to walk forlorn,
 Till cold winds woke the gray-eyed morn
 About the lonely moated grange.
   She only said, "The day is dreary,
   He cometh not," she said;
   She said, "I am aweary, aweary,
   I would that I were dead!"

 About a stone-cast from the wall
 A sluice with blacken'd waters slept,
 And o'er it many, round and small,
 The cluster'd marish-mosses crept.
 Hard by a poplar shook alway,
 All silver-green with gnarled bark:
 For leagues no other tree did mark
 The level waste, the rounding gray.
   She only said, "My life is dreary,
   He cometh not," she said;
   She said "I am aweary, aweary
   I would that I were dead!"

 And ever when the moon was low,
 And the shrill winds were up and away,
 In the white curtain, to and fro,
 She saw the gusty shadow sway.
 But when the moon was very low
 And wild winds bound within their cell,
 The shadow of the poplar fell
 Upon her bed, across her brow.
   She only said, "The night is dreary,
   He cometh not," she said;
   She said "I am aweary, aweary,
   I would that I were dead!"

 All day within the dreamy house,
 The doors upon their hinges creak'd;
 The blue fly sung in the pane; the mouse
 Behind the mouldering wainscot shriek'd,
 Or from the crevice peer'd about.
 Old faces glimmer'd thro' the doors
 Old footsteps trod the upper floors,
 Old voices called her from without.
   She only said, "My life is dreary,
   He cometh not," she said;
   She said, "I am aweary, aweary,
   I would that I were dead!"

 The sparrow's chirrup on the roof,
 The slow clock ticking, and the sound
 Which to the wooing wind aloof
 The poplar made, did all confound
 Her sense; but most she loathed the hour
 When the thick-moted sunbeam lay
 Athwart the chambers, and the day
 Was sloping toward his western bower.
   Then said she, "I am very dreary,
   He will not come," she said;
   She wept, "I am aweary, aweary,
   Oh God, that I were dead!"
-- Alfred, Lord Tennyson
Just read "Now sleeps the crimson petal ..." after a long time and
remembered what a favourite Tennyson was when I was just beginning to
discover the magic of poetry. Poetry is meant to be read aloud, and
Tennyson's melody and construction made an immediate impression at that
admittedly impressionable age - who could forget the babbling of The Brook,
or resist the delicious pathos of Home They Brought Her Warrior Dead? As a
special treat, our English teacher read aloud selections from 'Maud' - and
for days on end, the class was hypnotically chanting 'Come into the garden'
at the slightest provocation.

With critical faculties more developed in later years, one began to
understand Tennyson's failings: ultra-conservatism (what else could one
expect of a Victorian Poet Laureate?), the conscious abandonment of reason
for rhyme, and the tendency towards over-dramatisation; but one had to still
admit that his genius was far from commonplace - the perfect word at the
perfect place, the metre and the melody, and his superb creation of
'atmosphere', all add up to a wonderful audio-visual experience. In my
anthology of a hundred great poems to be read aloud, Tennyson and Walter de
la Mare would occupy the first ten slots.

I feel that Tennyson's gifts were ideal for the creation of fragments of
beauty - a scene, a turn of the kaleidoscope, a moment of wonder. He is
definitely not at his best in longer poems - take Maud, for example, which
taken as a whole is decidedly a feverish poem about an over-dramatic hero.
But there too exists snippets of almost unbearable beauty like the scene
with the flowers in the garden. Creating sustained dramatic tension and
irony was beyond Tennyson - for that one has to turn to Browning, a
contemporary at the other end of the spectrum, both difficult and obscure,
but rich with the subtlety of minute shades of human emotion and passions.

I am attaching two great Tennysons [we'll run the other one some other day -
t.] that were among the first I read at school - and they showcase his
particular talents admirably. The first is an old favourite that alludes to
Mariana in Shakespeare's "Measure for Measure" - and is chiefly remarkable
for the use of language. Take the first few lines (which incidentally were
used by Professor Higgins to improve Eliza's diction) - "With blackest moss
the flower-plots were thickly crusted, one and all:, The rusted nails fell
from the knots that held the pear to the gable-wall...". How skilfully is
the picture of the lonely manor woven, and the lament of Mariana in the
final lines of each stanza provide the perfect counterpoint. It is
wonderfully tactile, you can feel the disused manor in your bones.

Anustup.

[Minstrels Links]

Tennyson:
Poem #15, The Eagle (a fragment)
Poem #31, Break, break, break
Poem #80, The Brook (excerpt)
Poem #121, Ulysses
Poem #355, Charge of the Light Brigade
Poem #653, Ring Out, Wild Bells
Poem #825, Now Sleeps the Crimson Petal, Now the White

Browning:
Poem #65, Home Thoughts From Abroad
Poem #104, My Last Duchess
Poem #130, The Lost Leader
Poem #133, Song, from Pippa Passes
Poem #242, The Pied Piper of Hamelin
Poem #352, My Star
Poem #364, The Patriot
Poem #425, Memorabilia
Poem #526, A Toccata of Galuppi's
Poem #635, Soliloquy of the Spanish Cloister
Poem #778, Incident of the French Camp
Poem #814, Parting at Morning

de le Mare:
Poem #2, The Listeners
Poem #272, Napoleon
Poem #483, Brueghel's Winter
Poem #725, Silver

The Skater -- Charles G D Roberts

       
(Poem #851) The Skater
 My glad feet shod with the glittering steel
 I was the god of the wingèd heel.

 The hills in the far white sky were lost;
 The world lay still in the wide white frost;

 And the woods hung hushed in their long white dream
 By the ghostly, glimmering, ice-blue stream.

 Here was a pathway, smooth like glass,
 Where I and the wandering wind might pass

 To the far-off palaces, drifted deep,
 Where Winter's retinue rests in sleep.

 I followed the lure, I fled like a bird,
 Till the startled hollows awoke and heard

 A spinning whisper, a sibilant twang,
 As the stroke of the steel on the tense ice rang;

 And the wandering wind was left behind
 As faster, faster I followed my mind;

 Till the blood sang high in my eager brain,
 And the joy of my flight was almost pain.

 The I stayed the rush of my eager speed
 And silently went as a drifting seed, --

 Slowly, furtively, till my eyes
 Grew big with the awe of a dim surmise,

 And the hair of my neck began to creep
 At hearing the wilderness talk in sleep.

 Shapes in the fir-gloom drifted near.
 In the deep of my heart I heard my fear.

 And I turned and fled, like a soul pursued,
 From the white, inviolate solitude.
-- Charles G D Roberts
When I read the first couplet, I realised two things - firstly, that this
was not, critically speaking, a particularly great poem, and secondly, that
I was captivated anyway. Having read the entire poem, both impressions
remain - this will never be a great poem, but it's a beautiful one for a'
that.

It's hard to define exactly what it is about the poem that my inner critic
balks at. It's mostly the impression that the poet fails to achieve the
unselfconscious ease that marks the truly great poem - every now and then,
the images feel faintly forced, or the word choice suboptimal, which throws
me off my stride.

Far easier to say what I like about it - the fact remains that, for all my
nitpicking, this is a very pleasing poem. The imagery is beautiful, and very
evocative in places - the quiet, lonely stream winding through the wood,
its atmosphere slowly seeping into the narrator's mood, comes across
vividly.

Furthermore, couplets are a form I really like when they work, and they do
here, the poem being carried along as swift and as feather-light as the
skater on the cascading lines, and the slightly surreal atmosphere being
enhanced by the fragmentation.

martin

Links:

There's a bio of Roberts at
  http://www.library.utoronto.ca/utel/rp/authors/roberts.html

Two other poems that make effective use of couplets:

  Poem #84 R. L. Stevenson, 'From a Railway Carriage'
  Poem #209 Mary Robinson, 'The Camp'

No, I'll not take the half... -- Yevgeny Yevtushenko

Guest poem submitted by S. Ramnarayan:
(Poem #850) No, I'll not take the half...
 No, I'll not take the half,
 Give me the whole sky! The far-flung earth!
 Seas and rivers and mountain avalanches--
 All these are mine! I'll accept no less!

 No, life, you cannot woo me with a part.
 Let it be all or nothing! I can shoulder that!
 I don't want happiness by halves,
 Nor is half of sorrow what I want.

 Yet there's a pillow I would share,
 Where gently pressed against a cheek,
 Like a helpless star, a falling star,
 A ring glimmers on a finger of your hand.
-- Yevgeny Yevtushenko
1963.
Translated by George Reavey.

I don't really read much poetry outside of what I receive through this
egroup and yet somehow I kept stumbling upon poetry by Yevgeny Yevtushenko
and they almost consistently appealed to me. What I like about this
particular poem is the contrast between the first two stanzas and the last
stanza. The first two stanzas are fiery and passionate and sound so sure
while the last paragraph suddenly switches to reveal vulnerability.

[Biographical information]

Best known poet of the post-Stalin generation of Russian poets,
Yevtushenko's early poems show the influence of Mayakovsky and loyalty to
communism, but with such works as The Third Snow (1955) Yevtushenko become a
spokesman for the young post-Stalin generation and travelled abroad widely
throughout the Khrushchev and the Brezhnev periods.

Yevtushenko was born in Zima in Irkutsk (July 18, 1933) as a
fourth-generation descendant of Ukrainians exiled to Siberia. He moved to
Moscow in 1944, where he studied at the Gorky Institute of Literature from
1951 to 1954. In 1948 he accompanied his father on geological expeditions to
Kazakhstan and to Altai in 1950. His first important narrative poem Zima
Junction was published in 1956 but gained international fame in 1961 with
Babi Yar, in which he denounced Nazi and Russian anti-Semitism. The poem was
not published in Russia until 1984, althoug it was frequently recited in
both Russia and abroad.

The Heirs of Stalin (1961), published presumably with Party approval in
Pravda, was not republished until 1987. The poem contained warnings that
Stalinism had long outlived its creator.

Yevtushenko's demands for greater artistic freedom and his attacks on
Stalinism and bureaucracy in the late 1950s and 60s made him a leader of
Soviet youth. However, he was allowed to travel widely in the West until
1963. He published then A Precocious Autobiography in English, and his
privileges and favors were withdrawn, but restored two years later.

In 1972 Yevtushenko gained huge success with his play Under the Skin of the
Statue of Liberty. Since the 1970s he has been active in many field of
culture, writing novels, engaging in acting, film directing, and
photography. He has also remained politically outspoken and in 1974
supported Solzhenitsyn when the Nobel Prize Winner was arrested and exiled.
In 1989 Yevtushenko became member of the Congress of People's Deputies.
Since 1990 he has been vice president of Russian PEN. He was appointed
honorary member of American Academy of Arts and Sciences in 1987.

After the accession of Gorbachev to power, Yevtushnko introduced to Soviet
readers many poets repressed by Stalin in the journal Ogonek. He raised
public awareness of the pollution of Lake Baikal and when communism
collapsed he was instrumental in getting a monument to the victims of
Stalinist repression placed opposite Lubianka, headquarters of the KGB.

        -- http://boppin.com/poets/yevtushenko.htm