Thursday, October 20, 2011

"Terence, this is stupid stuff" by A.E. Housman





                      LXII

   ‘Terence, this is stupid stuff:
You eat your victuals fast enough;
There can’t be much amiss, ’t is clear,
To see the rate you drink your beer.
But oh, good Lord, the verse you make,
It gives a chap the belly-ache.
The cow, the old cow, she is dead;
It sleeps well, the horned head:
We poor lads, ’t is our turn now
To hear such tunes as killed the cow.
Pretty friendship ’t is to rhyme
Your friends to death before their time
Moping melancholy mad:
Come, pipe a tune to dance to, lad.’

   Why, if ’t is dancing you would be,
There’s brisker pipes than poetry.
Say, for what were hop-yards meant,
Or why was Burton built on Trent?
Oh many a peer of England brews
Livelier liquor than the Muse,
And malt does more than Milton can
To justify God’s ways to man.
Ale, man, ale’s the stuff to drink
For fellows whom it hurts to think:
Look into the pewter pot
To see the world as the world’s not.
And faith, ’t is pleasant till ’t is past:
The mischief is that ’t will not last.
Oh I have been to Ludlow fair
And left my necktie God knows where,
And carried half way home, or near,
Pints and quarts of Ludlow beer:
Then the world seemed none so bad,
And I myself a sterling lad;
And down in lovely muck I’ve lain,
Happy till I woke again.
Then I saw the morning sky:
Heigho, the tale was all a lie;
The world, it was the old world yet,
I was I, my things were wet,
And nothing now remained to do
But begin the game anew.

   Therefore, since the world has still
Much good, but much less good than ill,
And while the sun and moon endure
Luck’s a chance, but trouble’s sure,
I’d face it as a wise man would,
And train for ill and not for good.
’T is true, the stuff I bring for sale
Is not so brisk a brew as ale:
Out of a stem that scored the hand
I wrung it in a weary land.
But take it: if the smack is sour,
The better for the embittered hour;
It should do good to heart and head
When your soul is in my soul’s stead;
And I will friend you, if I may,
In the dark and cloudy day.

   There was a king reigned in the East:
There, when kings will sit to feast,
They get their fill before they think
With poisoned meat and poisoned drink.
He gathered all that springs to birth
From the many-venomed earth;
First a little, thence to more,
He sampled all her killing store;
And easy, smiling, seasoned sound,
Sate the king when healths went round.
They put arsenic in his meat
And stared aghast to watch him eat;
They poured strychnine in his cup
And shook to see him drink it up:
They shook, they stared as white’s their shirt:
Them it was their poison hurt.
— I tell the tale that I heard told.
Mithridates, he died old.

Source of the text - A.E. Housman, A Shropshire Lad.  The Bodley Head, NY: John Lane Company, 1917, pp. 91-94.

TJB: Ale ode. What poet other than Housman can answer his inner-critics by positing an increasing-tolerance approach to his own belly-ache verse?

Wednesday, October 19, 2011

"I love my love" by Helen Adam

I Love My Love

"In the dark of the moon the hair rules." --Robert Duncan

There was a man who married a maid. She laughed as he led her home.
The living fleece of her long bright hair she combed with a golden comb.
He led her home through his barley fields where the saffron poppies grew.
She combed, and whispered, "I love my love." Her voice like a plaintive coo.
Ha! Ha!
Her voice like a plaintive coo.

He lived alone with his chosen bride, at first their life was sweet.
Sweet was the touch of her playful hair binding his hands and feet.
When first she murmured adoring words her words did not appall.
"I love my love with a capital A. To my love I give my All.
Ah, Ha!
To my love I give my All."

She circled him with the secret web she wove as her strong hair grew.
Like a golden spider she wove and sang, "My love is tender and true."
She combed her hair with a golden comb and shckled him to a tree.
She shackled him close to the Tree of Life. "My love I'll never set free.
No, No.
My love I'll never set free."

Whenever he broke her golden bonds he was held with bonds of gold.
"Oh! cannot a man escape from love, from Love's hot smothering hold?"
He roared with fury. He broke her bonds. He ran in the light of the sun.
Her soft hair rippled and trapped his feet, as fast as his feet could run,
Ha! Ha!
As fast as his feet could run.

He dug a grave, and he dug it wide. He strangled her in her sleep.
He strangled his love with a strand of hair, and then he buried her deep.
He buried her deep when the sun was hid by a purple thunder cloud.
Her helpless hair sprawled over the corpse in a pale resplendent shroud.
Ha! Ha!
A pale resplendent shroud.

Morning and night of thunder rain, and then it came to pass
That the hair sprang up through the earth of the grave, and it grew like golden grass.
It grew and glittered along her grave alive in the light of the sun.
Every hair had a plaintive voice, the voice of his lovely one.

"I love my love with a capital T. My love is Tender and True.
I'll love my love in the barley fields when the thunder cloud is blue.
My body crumbles beneath the ground but the hairs of my head will grow.
I'll love my love with the hairs of my head. I'll never, never let go.
Ha! Ha!
I'll never, never let go."

The hair sang soft, and the hair sang high, singing of loves that drown,
Till he took his scythe by the light of the moon, and he scythed that singing hair down.
Every hair laughed a liting laugh, and shrilled as his scythe swept through.
"I love my love with a capital T. My love is Tender and True.
Ha! Ha!
Tender, Tender, and True."

All through the night he wept and prayed, but before the first bird woke
Around the house in the barley fields blew the hair like billowing smoke.
Her hair blew over the barley fields where the slothful poppies gape.
All day long all its voices cooed, "My love can never escape,
No, No!
My love can never escape."

"Be still, be still, you devilish hair. Glide back to the grave and sleep.
Glide back to the grave and wrap her bones down where I buried her deep.
I am the man who escaped from love, though love was my fate and doom.
Can no man ever escape from love who breaks from a woman's womb?"

Over his house, when the sun stood high, her hair was a dazzling storm,
Rolling, lashing o'er walls and roof, heavy, and soft, and warm.
It thumped on the roof, it hissed and glowed over every window pane.
The smell of the hair was in the house. It smelled like a lion's mane,
Ha! Ha!
It smelled like a lion's mane.

Three times round the bed of their love, and his heart lurched with despair.
In through the keyhole, elvish bright, came creeping a single hair.
Softly, softly, it stroked his lips, on his eyelids traced a sign.
"I love my love with a capital Z. I mark him Zero and mine.
Ha! Ha!
I mark him Zero and mine."

The hair rushed in. He struggled and tore, but wherever he tore a tress,
"I love my love with a capital Z," sang the hair of the sorceress.
It swarmed upon him, it swaddled him fast, it muffled his every groan.
Like a golden monster it seized his flesh, and then it sought the bone,
Ha! Ha!
And then it sought the bone.

It smothered his flesh and sought the bones. Until his bones were bare
There was no sound but the joyful hiss of the sweet insatiable hair.
"I love my love," it laughed as it ran back to the grave, its home.
Then the living fleece of her long bright hair, she combed with a golden comb.


Source of the text - The New American Poetry 1945-60, edited by Donald Allen.  Berkeley: University of California Press, 1999, pp. 114-117.

Bourguignomicon: Hair ballad. Something feminine and unstoppable dominates the gorgeous flow of this poem and generates new power from its traditional form.

from "Troilus and Cressida" Act 3 Scene 3 by William Shakespeare

from Act 3 Scene 3 [lines 146-154]

ULYSSES
Time hath, my lord, a wallet at his back,
Wherein he puts alms for oblivion,
A great-sized monster of ingratitudes.
Those scraps are good deeds past, which are
Devoured as fast as they are made, forgot
As soon as done.  Perseverance, dear my lord,
Keeps honour bright; to have done is to hang
Quite out of fashion, like a rusty mail
In monumental mock'ry.


Source of the text - William Shakespeare, Troilus and Cressida, edited by David Bevington. Walton-on-Thames: Nelson, 1998.

Bourguignomicon: Ulysses carefully, lovingly describes the cheapness of past deeds now out of fashion, tossed aside by time—amazing metaphor, even for Will.

Tuesday, October 18, 2011

"Once and Upon" by Madeline Gleason

ONCE AND UPON

Cross at the morning
and at waking,
with a mourning for summer,
she crossed the bridge Now
over the river Gone
toward the place called New
to begin her Once Upon.

Once and Upon
my daddy long legs
walked in a web of work
for my sisters and me,
as Mother spun round
with silver knives and forks
in a shining of pans,
a wash of Mondays
and plans
for our lives ten thousand weeks.

To cross the bridge Now
over the river Gone
toward the place called New
to begin her Once Upon,
in a mourning for summer, she moved
to write her right becoming
and find her true beloved.

Snippets and tags of Gone,
criss-crossed as retold,
beggared the strumming
of fresh rhythms
that should have stirred her becoming.

Once and Upon
she ate the plum
and from a full mouth
disgorged the pit
into her hand
while Mother spun as she canned
peach and plum in season –
the land, holy Mother to
the plentiful fruit.

To cross.
But where should her steps lead
away from the river?

Through a desert she hurried,
thirsting she ran
to reach becoming,
passed three water holes
but never saw them,
so eager was she to reach
outward evidence
of her inward drawing.

Sisters of grace,
comely, sea-washed,
with blond shell hair and skin,
whirling with intermittent passion
amidst daddy long legs
and Mother awash
among the underthings,
boys shouting and running,
swaggering and dying
for the sisters’ charms.
AMEN!

Tops a-spin in a dying dance.
Yoo Hoo, Fatty! Buck!
Hi, Pete! Hello, old Gene!

Cross at the morning,
summer crossed with the beginning
of gold,
a sea of brown leaves swirling.

And no trees bent down
to whisper their wisdom
for her becoming.
Ah! Now! Ah! Gone! Ah! New
Ah! Once Upon!  



Source of the text - The New American Poetry, 1945-60, edited by Donald Allen.  Berkeley: University of California Press, 1999, pp. 125-127.


Bourguignomicon: Familiar terms turn odd & succulent in this semi-rhyming, semianapestic gesture toward fairy tale while recursion & meaning hold equal sway.

"Cuttings" and "Cuttings (Later)" by Theodore Roethke

Cuttings


Sticks-in-a-drowse droop over sugary loam,
Their intricate stem-fur dries;
But still the delicate slips keep coaxing up water;
The small cells bulge;

One nub of growth
Nudges a sand-crumb loose,
Pokes through a musty sheath
Its pale tendrilous horn.




Cuttings
(LATER)


This urge, wrestle, resurrection of dry sticks,
Cut stems struggling to put down feet,
What saint strained so much,
Rose on such lopped limbs to a new life?
I can hear, underground, that sucking and sobbing,
In my veins, in my bones I feel it,
The small waters seeping upward,
The tight grains parting at last.
When sprouts break out,
Slippery as fish,
I quail, lean to beginnings, sheath-wet.


Source of the text - Theodore Roethke, The Lost Son and Other Poems.  Garden City, NY: Doubleday & Company, 1948, pp. 11-12.


TJB: Birth as harrowing, Saxon rooting. Roethke deeply sympathizes with a sprout, like Jesus or Orpheus, striving to push through to the surface.

Monday, October 17, 2011

"The world is too much with us" by William Wordsworth





XXXIII.

The world is too much with us; late and soon,
Getting and spending, we lay waste our powers:

Little we see in Nature that is ours;
We have given our hearts away, a sordid boon!
This Sea that bares her bosom to the moon;
The winds that will be howling at all hours,
And are up-gathered now like sleeping flowers;
For this, for every thing, we are out of tune;
It moves us not.--Great God!  I'd rather be
A Pagan suckled in a creed outworn;
So might I, standing on this pleasant lea,
Have glimpses that would make me less forlorn;
Have sight of Proteus rising from the sea;
Or hear old Triton blow his wreathèd horn.


Source of the text - The Poetical Works of William Wordsworth, edited by Edward Dowden, Volume III.  London, George Bell & Sons, 1892, p. 21.

TJB: Titan-envy. Really, WW, you of all people rhyme boon & moon, hours & flowers? Really, we’re less connected to Nature than the pagans of old?

untitled poem dated September 27, 1965 by Larry Eigner

                                                       September 27  65      #  j  q  '

blackbirds and sparows
             what a mess
       garbage from the apple tree
                   the dog noses
                the birds swerve in the wind

                 branches    flowers
                      now sunlight impounds shadows

                     there's my own chimney
                                  which was about to smoke

                          the birds come back     more crumbs
                               have been tossed out for them

                                           a dying leaf is a wing



Source of the text - The Collected Poems of Larry Eigner, Volume 2, edited by Curtis Faville and Robert Grenier.  Stanford, CA: Stanford University Press, 2009, p. 672.

Bourguignomicon: Parallel phrases (blackbirds… & branches…, or wind & wing) allow form to settle gently on a flow of dailiness as if seen for the first time.

"Þrjár skáldkonur" by Kristin Omarsdottir

Original text in Icelandic:


Þrjár skáldkonur


í hvítum brjóstahöldum
sitja í kringum lágt
hringborð.
Með bók við hönd.
Maður klæddur sjóræningjapeysu
kemur inn um dyrnar
úr snjóroki og sest
við borð kvennanna.
Klæðir sig úr peysunni.
Þegar hann snertir
eina þeirra
eru þær allar dánar.
Og lifna ekki við.
Þó þær bíði eftir kossum hans.
Þá stendur hann upp,
tekur hina snertu í fang sitt
og heldur á henni út.
Gegnumtrekkurinn
þegar dyrnar opnast og lokast
flettir síðum bókanna
þriggja.



English translation by Peter Constantine:

Three women poets
in white bras
sit at a small
round table.
Book in hand.

A man in a pirate sweater
comes in through the door
out of the snowstorm and sits down
at the women’s table.

He takes off his sweater.

He touches
one of them,
they are all dead.
And won’t come alive again.
Though they await his kisses.

Then he rises
scoops up in his arms the woman he had touched
and carries her out.

The draft
as the door flies open and falls shut
leafs through the pages of the three
books.



Source of the text – Kristin Omarsdottir, ""Þrjár skáldkonur." Words Without Borders (The Online Magazine for International Literature), October 2011. Web.  Accessed October 17, 2011.

Bourguignomicon: Why a pirate sweater; do pirates wear sweaters? Six actions are declaratively presented as equals in this parable of poets awaiting readers.

Friday, October 14, 2011

"Alba" by Samuel Beckett

Alba

before morning you shall be here
and Dante and the Logos and all strata and mysteries
and the branded moon
beyond the white plane of music
that you shall establish here before morning

                grave suave singing silk
                stoop to the black firmament of areca
                rain on the bamboos flower of smoke alley of willows

who though you stoop with fingers of compassion
to endorse the dust
shall not add to your bounty
whose beauty shall be a sheet before me
a statement of itself drawn across the tempest of emblems
so that there is no sun and no unveiling
and no host
only I and then the sheet
and bulk dead

Source of the text - Samuel Beckett, Collected Poems in English & French. New York: Grove Press, 1977, p. 15.

Bourguignomicon: Body aubade. With thrilling imagery, litany & chiasmus, the lover’s beauty or perhaps poetry itself emerges as a blockade to platonic truth.

"Whan I see on rode" anonymous Middle English lyric

Whan I see on rode
Jhesu my lemman,
And biside him stonden
Marie and Iohan,
And his rigge i-swongen,
And his side i-stongen
For the love of man:
Wel owe I to wepe
And synnes forlete,
If I of love can,
If I of love can,
If I of love can.




Notes [from Stevick]:

5. rigge    back

My glosses:

rode     cross
lemman     lover
i-swongen     scourged
i-stongen      pierced
owe      ought
forlete     abandon
can     know


Source of the text - One Hundred Middle English Lyrics, Revised Edition, edited by Robert D. Stevick. Urbana, IL: University of Illinois Press, 1994, p. 22.

TJB: Cross-eyed piety; hypotaxis with a great dismount. How often does our poet see Jesus on the cross? Why don’t Mary & John stand beside the poet?
  
  
  

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