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Poetry Friday: Poem #30, Lucy II by William Wordsworth

“Poetry is ‘the spontaneous overflow of powerful feelings . . . recollected in tranquility.'”~William Wordsworth

Sir William WordsWords proved to be quite popular back when I did my poetry survey, with three poems in the Top 100 list. Wordsworth’s Lucy poems are comprised of five poems written between the years of 1798 and 1801. Nobody knows quite who this Lucy person was, or even if she was a real girl or just a figment of Mr. Wordsworth’s imagination. However, she seems to have evoked some powerful feelings in Mr. Wordsworth.

Charles Lamb said that Lucy II was one of his favorite poems from Lyrical Ballads, the famous collection of peoms by Wordsworth and Coleridge that initiated the Romantic movement in poetry and literature. Keats also singled out this particular poem for praise.

Poems founded on the Affections
VIII
Composed 1799, publ 1800

She dwelt among the untrodden ways
Beside the springs of Dove,
A maid whom there were none to praise
And very few to love;

A violet by a mossy stone
Half hidden from the eye!
– Fair as a star when only one
Is shining in the sky.

She lived unknown, and few could know
When Lucy ceased to be;
But she is in her grave, and, oh,
The difference to me!

The poem rather reminds me of Engineer Husband’s favorite movie, It’s a Wonderful Life!

Today’s Poetry Friday Round-up is at Laura Shovan’s blog, Author Amok.

Today, by the way, is Tennyson’s birthday. We’ll get to him soon.

Sunday Salon: Shakespeare and Company

The Sunday Salon.comWe’re back from our annual pilgrimage to Winedale where we saw the University of Texas summer program students perform two plays: Macbeth and Twelfth Night. Twelfth Night was Friday night, and all of the family who were able to go this year enjoyed the comedy together. Twelfth Night is not my favorite play. Malvolio evokes my sympathy as the victim of a cruel practical joke, and I feel uncomfortable laughing at him. I know he’s vain, but other than that his worst fault is that he wants Sir Toby and his drinking buddies to “amend your drunkenness” and settle down. Anyway, everybody makes a fool of himself or herself in Twelfth Night, and the only one who doesn’t get a happy ending is poor, vain Malvolio, who whimpers an empty threat of revenge as the play limps to a close. The student who played Malvolio, by the way, did an excellent job, and therefore made the character even more the central enigma of the play as he engaged my contradictory emotions of ridicule and sympathy.

What other people have said about Twelfth Night:

“The soliloquy of Malvolio is truly comic; he is betrayed to ridicule merely by his pride. The marriage of Olivia, and the succeeding perplexity, though well enough contrived to divert on the stage, wants credibility, and fails to produce the proper instruction required in the drama, as it exhibits no just picture of life.” ~Samuel Johnson.

“Refined minds today are apt to find the trick put upon him as distasteful, his persecution too cruel. Elizabethans enjoyed that sort of thing; we are no better–though our sympathies may well be with him, endeavouring to do his duty and keep some order in the house among the hangers-on, drunks, and wasters.” ~AL. Rowse, Introduction to Twelfth Night.

“Everyone, except the reluctant jester, Feste, is essentially mad without knowing it. When the wretched Malvolio is confined in the dark room for the insane, he ought to be joined there by Orsino, Olivia, Sir Toby Belch, Sir Andrew Aguecheek, Maria, Sebastian, Antonio, and even Viola, for the whole ninefold are at least borderline in their behavior.” ~Harold Bloom, Shakespeare, The Invention of the Human.

“It is a wildly improbable, hugely entertaining fantasy. And just beneath the surface are life’s darkest, most terrible truths.” ~Ed Friedlander, Enjoying Twelfth Night by William Shakespeare.

“If this were play’d upon a stage now, I could condemn it as an improbable fiction.” ~Fabian in Twelfth Night.

Macbeth I found the more congenial of the two plays, even though “congenial” is an odd word to use about a play filled with murder, betrayal, and evil witchery. Macbeth and Lady Macbeth are thorough-going villains and deserve the end they get. Malvolio’s pride only leads him to be foolish and absurd and pathetically vengeful. Macbeth and his lady screw their (malevolent) courage to the sticking place, literally, and commit bloody, violent murder and then they both go really, truly insane, not just pretend-mad like Malvolio and his tormentors.

I guess I can imagine myself in Malvolio’s place, being made ridiculous by a bunch of practical jokers and by my own stupidity, but the evil deeds of the Macbeth duo are beyond me. So Twelfth Night makes me more uncomfortable than Macbeth, and I can watch Macbeth with a more detached feeling.

The students who played Macbeth and Lady Macbeth gave a chilling and superb performance. I did feel sorry for poor, tormented Macbeth, somewhat against my will, and I was glad to think that I know no Lady Macbeth who would goad her husband to such vile murderous deeds. At least, I don’t think I know anyone quite that far gone.

All in all, our weekend in the country was an enjoyable success. In addition to the plays, I finished two books, Out of my Mind by Sharon M. Draper and Pastwatch by Orson Scott Card, and started a third, Shanghai Girls by Lisa See. I’ll write more about the three books soon, I hope.

If you get a chance to see some Shakespeare this month, or anytime, I highly recommend it.

Poem #29: A Red, Red Rose by Robert Burns (1794)

“Poetry begins to atrophy when it gets too far from music.”~Ezra Pound


O, my luve’s like a red, red rose,
That’s newly sprung in June.
O, my luve’s like the melodie,
That’s sweetly play’d in tune.

As fair art thou, my bonie lass,
So deep in luve am I,
And I will luve thee still, my Dear,
Till a’ the seas gang dry.

Till a’ the seas gang dry, my Dear,
And the rocks melt wi’ the sun!
O I will luve thee still, my Dear,
While the sands o’ life shall run.

And fare thee weel, my only Luve,
And fare thee weel a while!
And I will come again, my Luve,
Tho’ it were ten thousand mile!

Robbie Burns, by all acccounts, had more than one “only luve”, but that doesn’t keep this love poem from being terribly romantic and eternally popular. Burns was mostly homeschooled by his father as a child, and later, self-taught.

Burns referred to “A Red, Red Rose” as a “simple old Scots song which I had picked up in the country.”

When asked for the source of his greatest creative inspiration, singer songwriter Bob Dylan selected Burns’s 1794 song “A Red, Red Rose”, as the lyric that had the biggest effect on his life.

June is, by the way, National Rose Month.

For more poetry on this Friday, check out Poetry Friday, hosted today at The Art of Irreverence.

Peer Gynt, Manliness, and Mother Mary

Drama Daughter and I saw a performance of Ibsen’s Peer Gynt a couple of months ago when I took her to St. Edward’s University in Austin for a scholarship audition and drama workshop. The performance was very long–about three hours, probably twenty plus scenes. The translation was by poet Robert Bly, the guy who wrote Iron John. I remember seeing Bly many years ago on a PBS special talking about male-ness and beating drums and going out into the woods to find one’s masculinity—that sort of thing. The entire play is in verse, by the way.

Bly’s translation of Peer Gynt does have some of that ” what does it take to become a Real Man” aura and theme. I don’t how much of that was pure Ibsen and how much was Bly’s interpretation of Ibsen. I’m now trying to imagine Charltonn Heston as Peer Gynt. The actor we saw in the play was quite athletic –and exhausted by end of the three hours. Has anyone seen the movie version?

However, one of the main things I noticed about the theatrical production was how Catholic it was. St. Edward’s is a Catholic university, but I doubt the play was chosen specifically for its catholicity. Still, particularly at the end, the play goes from a confusing amalgamation of folk tale and coming of age story into a Catholic version of the prodigal son story. Peer Gynt, who has been out in the world, gaining and losing riches, chasing women, striving for power and fame, comes home, full of sin and full of himself and yet not really knowing who he is. There is one scene in which he peels an onion and as he does so he names the layers of himself, but as he peels off layer after layer, he never comes to the center or core of his own identity.

Peer Gynt does come home, over land and sea, but not to his Father (who is missing in action–father issues), rather to his sweetheart and to his Mother who is standing behind the virginal lady that he left long before and who has been waiting for most of Peer Gynt’s life to welcome him home. The sweetheart sings him a lullaby, and he says something like, “You are my wife and my mother!” And she says that she is the mother who will bring him to the Father. Sort of Oedipal.

I thought it was fascinating to watch. I wouldn’t have expected Ibsen to use such seemingly Catholic imagery. Wouldn’t a Norwegian be more likely to be steeped in Lutheranism? Or do Lutherans have a Marian theology of their own?

Poem #28: A Poison Tree by William Blake, 1794

“Poetry reflects on the quality of life, on us as we are in process on this earth, in our lives, in our relationships, in our communities.”~Adrienne RIch

I was angry with my friend:
I told my wrath, my wrath did end.
I was angry with my foe:
I told it not, my wrath did grow.

And I watered it in fears,
Night and morning with my tears;
And I sunned it with smiles,
And with soft deceitful wiles.

And it grew both day and night,
Till it bore an apple bright.
And my foe beheld it shine.
And he knew that it was mine,

And into my garden stole
When the night had veiled the pole;
In the morning glad I see
My foe outstretched beneath the tree.

Whoa, talk about manipulative bitterness! The entire poem, and the one from earlier this week, both remind me of House, a TV show that Artiste Daughter and I were watching just this evening. One of the themes of this season on House has been the balance between honesty/self-acceptance and kindness/love. Dr. House harbors bitterness and pain, and when he tries to become a more loving and giving person, he’s still manipulative. He gives gifts in hopes that “karma” will bring the good back to him.

Jesus said, “You have heard that it was said, ‘Love your neighbor and hate your enemy.’ But I tell you: Love your enemies and pray for those who persecute you, that you may be sons of your Father in heaven. He causes his sun to rise on the evil and the good, and sends rain on the righteous and the unrighteous. If you love those who love you, what reward will you get? Are not even the tax collectors doing that? And if you greet only your brothers, what are you doing more than others? Do not even pagans do that? Be perfect, therefore, as your heavenly Father is perfect.”

Impossible? Yes, absolutely. Blake knew it. You know it. And I do, too. On our own, we all produce poison trees of wrath full of poisonous apples for those we consider our enemies. “But the fruit of the Spirit is love, joy, peace, patience, goodness, kindness, gentleness, and self-control. Against such there is no law.”

Poem #27: The Clod and the Pebble by William Blake, 1794

“Out of the quarrel with others we make rhetoric; out of the quarrel with ourselves we make poetry. “~W.B. Yeats

“Love seeketh not Itself to please,
Nor for itself hath any care;
But for another gives its ease,
And builds a Heaven in Hell’s despair.”
So sung a little Clod of Clay,
Trodden with the cattle’s feet;
But a Pebble of the brook,
Warbled out these metres meet:
“Love seeketh only self to please,
To bind another to Its delight,
Joys in another’s loss of ease,
And builds a Hell in Heaven’s despite.”

So Blake and the pebble would have been proponents of what is today called “tough love,” I suppose, or perhaps the sort of romantic lustful love that is glorified in so many movies and books? I don’t really get the pebble’s perspective: how does real love ever build a hell? But, then again, I’m not sure I believe that the clod has it right either. Yes, Love is giving and forgiving and serving, but there is a place for honesty and acknowledgement of one’s own needs even while serving and thinking of others. Jesus calls us to self-denial, and we are told in the Bible that “whoever tries to keep his life will lose it, and whoever loses his life will preserve it.” (Luke 17:33) But Matthew adds the important words “for My sake,” (Mt. 10:39) implying that self-abnegation for its own sake or even for the sake of others alone is not what we are called to practice. We are called to deny self in order to follow Christ, and God himself will provide for all our needs.

A focus on glorifying Jesus makes all the difference.

Poem #26: The Tyger by William Blake, 1794

“People should like poetry the way a child likes snow, and they would if poets wrote it.”~Wallace Stevens

Tyger! Tyger! burning bright
In the forests of the night,
What immortal hand or eye
Could frame thy fearful symmetry?
theTyger
In what distant deeps or skies
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand dare sieze the fire?

And what shoulder, & what art.
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? & what dread feet?

What the hammer? what the chain?
In what furnace was thy brain?
What the anvil? what dread grasp
Dare its deadly terrors clasp?

When the stars threw down their spears,
And watered heaven with their tears,
Did he smile his work to see?
Did he who made the Lamb make thee?

Tyger! Tyger! burning bright
In the forests of the night,
What immortal hand or eye
Dare frame thy fearful symmetry?

William Blake was an odd sort of genius. He was a poet, a painter, and a printmaker. He did not attend school as a child and was educated at home by his mother. His father bought him some drawings of Greek antiquities, and Blake began to copy them. Then, he took art lessons. Then, he was apprenticed for seven years, from age 14 to 21, to an engraver.

Blake revered the Bible, but had his own idiosyncratic and probably heretical interpretation of it. He hated the Church of England. Blake and his wife Catherine practiced nudity (in their own garden), and he may have proposed that he bring a concubine into their marriage bed, although there’s no evidence that he actually did so. He claimed throughout his life that he saw visions of God and of angels, among other things, and believed that he was personally instructed by Archangels in his work.

I nevertheless have hope that he placed his trust in Christ in spite of his sometimes odd ideas.

George Richmond on William Blake’s death:
He died … in a most glorious manner. He said He was going to that Country he had all His life wished to see & expressed Himself Happy, hoping for Salvation through Jesus Christ — Just before he died His Countenance became fair. His eyes Brighten’d and he burst out Singing of the things he saw in Heaven.

Poem #25: To a Mouse by Robert Burns, 1785

“All slang is a metaphor, and all metaphor is poetry.”~G.K. Chesterton

Neoneocon, Ten Poems to Memorize in School: “The dialect is almost impossible, I know. But with an explanation of the meaning of the obscure, archaic words, I think it’s a poem that will appeal to kids of that age. At any rate, it’s a masterpiece, going from the cute and cuddly (Burns almost overdoes it but stops right at the brink) to the profound.”

Cindy at Ordo Amoris: “Burns will always be my first love. He rhymes in dialect.”

Full title: To a Mouse, On Turning Her Up In Her Nest With the Plough, November, 1785.

Wee, sleekit, cowrin, tim’rous beastie,
O, what a panic’s in thy breastie!
Thou need na start awa sae hasty
Wi bickering brattle!
I wad be laith to rin an’ chase thee,
Wi’ murdering pattle.

I’m truly sorry man’s dominion
Has broken Nature’s social union,
An’ justifies that ill opinion
Which makes thee startle
At me, thy poor, earth born companion
An’ fellow mortal!

I doubt na, whyles, but thou may thieve;
What then? poor beastie, thou maun live!
A daimen icker in a thrave
‘S a sma’ request;
I’ll get a blessin wi’ the lave,
An’ never miss’t.

Thy wee-bit housie, too, in ruin!
It’s silly wa’s the win’s are strewin!
An’ naething, now, to big a new ane,
O’ foggage green!
An’ bleak December’s win’s ensuin,
Baith snell an’ keen!

Thou saw the fields laid bare an’ waste,
An’ weary winter comin fast,
An’ cozie here, beneath the blast,
Thou thought to dwell,
Till crash! the cruel coulter past
Out thro’ thy cell.

That wee bit heap o’ leaves an’ stibble,
Has cost thee monie a weary nibble!
Now thou’s turned out, for a’ thy trouble,
But house or hald,
To thole the winter’s sleety dribble,
An’ cranreuch cauld.

But Mousie, thou art no thy lane,
In proving foresight may be vain:
The best laid schemes o’ mice an’ men
Gang aft agley,
An’ lea’e us nought but grief an’ pain,
For promis’d joy!

Still thou are blest, compared wi’ me!
The present only toucheth thee:
But och! I backward cast my e’e,
On prospects drear!
An’ forward, tho’ I canna see,
I guess an’ fear!

If you need a translation, you can get that here. Or just listen to it over and over and let that Scots accent and dialect wash over you until you get the sense of it.

Poem #24: Elegy Written in a Country Churchyard by Thomas Gray, 1751

“Read a poem. Taste it. Let it melt over you. Start now.”~Deputy Headmistress at The Common Room

Cindy at Ordo Amoris: “This poem is simply perfection: logos, ethos and pathos.”

The curfew tolls the knell of parting day,
The lowing herd winds slowly o’er the lea,
The ploughman homeward plods his weary way,
And leaves the world to darkness and to me.

Now fades the glimmering landscape on the sight,
And all the air a solemn stillness holds,
Save where the beetle wheels his droning flight,
And drowsy tinklings lull the distant folds:

Save that from yonder ivy-mantled tower
The moping owl does to the moon complain
Of such as, wandering near her secret bower,
Molest her ancient solitary reign.

Beneath those rugged elms, that yew-tree’s shade,
Where heaves the turf in many a mouldering heap,
Each in his narrow cell for ever laid,
The rude Forefathers of the hamlet sleep.

The breezy call of incense-breathing morn,
The swallow twittering from the straw-built shed,
The cock’s shrill clarion, or the echoing horn,
No more shall rouse them from their lowly bed.

For them no more the blazing hearth shall burn,
Or busy housewife ply her evening care:
No children run to lisp their sire’s return,
Or climb his knees the envied kiss to share,

Oft did the harvest to their sickle yield,
Their furrow oft the stubborn glebe has broke;
How jocund did they drive their team afield!
How bow’d the woods beneath their sturdy stroke!

Let not Ambition mock their useful toil,
Their homely joys, and destiny obscure;
Nor Grandeur hear with a disdainful smile
The short and simple annals of the Poor.

The boast of heraldry, the pomp of power,
And all that beauty, all that wealth e’er gave,
Awaits alike th’ inevitable hour:-
The paths of glory lead but to the grave.

Nor you, ye Proud, impute to these the fault
If Memory o’er their tomb no trophies raise,
Where through the long-drawn aisle and fretted vault
The pealing anthem swells the note of praise.

Can storied urn or animated bust
Back to its mansion call the fleeting breath?
Can Honour’s voice provoke the silent dust,
Or Flattery soothe the dull cold ear of Death?

Perhaps in this neglected spot is laid
Some heart once pregnant with celestial fire;
Hands, that the rod of empire might have sway’d,
Or waked to ecstasy the living lyre:

But Knowledge to their eyes her ample page,
Rich with the spoils of time, did ne’er unroll;
Chill Penury repress’d their noble rage,
And froze the genial current of the soul.

Full many a gem of purest ray serene
The dark unfathom’d caves of ocean bear:
Full many a flower is born to blush unseen,
And waste its sweetness on the desert air.

Some village-Hampden, that with dauntless breast
The little tyrant of his fields withstood,
Some mute inglorious Milton here may rest,
Some Cromwell, guiltless of his country’s blood.

Th’ applause of list’ning senates to command,
The threats of pain and ruin to despise,
To scatter plenty o’er a smiling land,
And read their history in a nation’s eyes,

Their lot forbad: nor circumscribed alone
Their growing virtues, but their crimes confined;
Forbad to wade through slaughter to a throne,
And shut the gates of mercy on mankind,

The struggling pangs of conscious truth to hide,
To quench the blushes of ingenuous shame,
Or heap the shrine of Luxury and Pride
With incense kindled at the Muse’s flame.

Far from the madding crowd’s ignoble strife,
Their sober wishes never learn’d to stray;

Along the cool sequester’d vale of life
They kept the noiseless tenour of their way.

Yet e’en these bones from insult to protect
Some frail memorial still erected nigh,
With uncouth rhymes and shapeless sculpture deck’d,
Implores the passing tribute of a sigh.

Their name, their years, spelt by th’ unletter’d Muse,
The place of fame and elegy supply:
And many a holy text around she strews,
That teach the rustic moralist to die.

For who, to dumb forgetfulness a prey,
This pleasing anxious being e’er resign’d,
Left the warm precincts of the cheerful day,
Nor cast one longing lingering look behind?

On some fond breast the parting soul relies,
Some pious drops the closing eye requires;
E’en from the tomb the voice of Nature cries,
E’en in our ashes live their wonted fires.

For thee, who, mindful of th’ unhonour’d dead,
Dost in these lines their artless tale relate;
If chance, by lonely contemplation led,
Some kindred spirit shall inquire thy fate, —

Haply some hoary-headed swain may say,
Oft have we seen him at the peep of dawn
Brushing with hasty steps the dews away,
To meet the sun upon the upland lawn;

‘There at the foot of yonder nodding beech
That wreathes its old fantastic roots so high.
His listless length at noontide would he stretch,
And pore upon the brook that babbles by.

‘Hard by yon wood, now smiling as in scorn,
Muttering his wayward fancies he would rove;
Now drooping, woeful wan, like one forlorn,
Or crazed with care, or cross’d in hopeless love.

‘One morn I miss’d him on the custom’d hill,
Along the heath, and near his favourite tree;
Another came; nor yet beside the rill,
Nor up the lawn, nor at the wood was he;

‘The next with dirges due in sad array
Slow through the church-way path we saw him borne,-
Approach and read (for thou canst read) the lay
Graved on the stone beneath yon aged thorn.’

The Epitaph
Here rests his head upon the lap of Earth
A youth to Fortune and to Fame unknown.
Fair Science frowned not on his humble birth,
And Melancholy marked him for her own.

Large was his bounty, and his soul sincere,
Heaven did a recompense as largely send:
He gave to Misery all he had, a tear,
He gained from Heaven (’twas all he wish’d) a friend.

No farther seek his merits to disclose,
Or draw his frailties from their dread abode
(There they alike in trembling hope repose),
The bosom of his Father and his God.

I bolded my favorite lines, and I agree with others: Thomas Gray’s poem extolling the virtues of the common man is a gem. Wikipedia says, “Gray also wrote light verse, such as Ode on the Death of a Favourite Cat, Drowned in a Tub of Gold Fishes, a mock elegy concerning Horace Walpole’s cat.” I looked that poem up in my Norton anthology, and it’s a dandy, ending with this warning to unheeding cats:

From hence, ye beauties, undeceived,
Know, one false step is ne’er retrieved,
And be with caution bold.
Not all that tempts your wandering eyes
And heedless hearts is lawful prize,
Nor all, that glisters, gold.

I like.

Poem #23: To My Dear and Loving Husband by Anne Bradstreet, 1678

“If what I do prove well, it won’t advance. They’ll say it’s stolen, or else it was by chance.”~Anne Bradstreet

The first American poet on the list! And not another American until almost 150 years later.

If ever two were one, then surely we.
If ever man were lov’d by wife, then thee;
If ever wife was happy in a man,
Compare with me ye women if you can.
I prize thy love more than whole Mines of gold,
Or all the riches that the East doth hold.
My love is such that Rivers cannot quench,
Nor ought but love from thee, give recompence.
Thy love is such I can no way repay,
The heavens reward thee manifold I pray.
Then while we live, in love let’s so persever,
That when we live no more, we may live ever.

The feminist critics have tried to reinterpret Ms. Bradstreet’s poetry so as to have their female poet and make her a modern feminist, too. She, according to them, wrote of her love and duty to her husband in such glowing terms despite the fact that “Puritan women were expected to be reserved, domestic, and subservient to their husbands. They were not expected or allowed to exhibit their wit, charm, intelligence, or passion.” The fact that Anne Bradstreet does exhibit wit, charm, intelligence, and passion makes her an anomaly. However, I tend to think there was just as much, certainly no less, wit, etc. among Puritan women as there is nowadays among non-Puritanical types. Probably there was more back then, since only those who take God seriously and themselves lightly are able to safely indulge in wit, humor and passion.

Save this poem for Valentine’s Day and give it to your dearly beloved husband, all ye wives of good husbands.