Maggie's Farm

from Lines Composed a Few Miles Above Tintern Abbey, On Revisiting the Banks of the Wye During a Tour, by William Wordsworth, 1798:

And now, with gleams of half-extinguished thought,
With many recognitions dim and faint,
And somewhat of a sad perplexity,
The picture of the mind revives again:
While here I stand, not only with the sense
Of present pleasure, but with pleasing thoughts
That in this moment there is life and food
For future years. And so I dare to hope,
Though changed, no doubt, from what I was
When first I came among these hills, when like a roe
I bounded o'er the mountains, by the sides
Of the deep rivers, and the lonely streams
Wherever nature led: more like a man
Flying from something that he dreads, than one
Who sought the thing he loved.

Entire poem below the fold - for some reason, you need to scroll down to get to the body of the poem -

The author begins -

Whan that aprill with his shoures soote
The droghte of march hath perced to the roote,
And bathed every veyne in swich licour
Of which vertu engendred is the flour;
Whan zephirus eek with his sweete breeth
Inspired hath in every holt and heeth
Tendre croppes, and the yonge sonne
Hath in the ram his halve cours yronne,
And smale foweles maken melodye,
That slepen al the nyght with open ye
(so priketh hem nature in hir corages);
Thanne longen folk to goon on pilgrimages,
And palmeres for to seken straunge strondes,
To ferne halwes, kowthe in sondry londes;
And specially from every shires ende
Of engelond to caunterbury they wende,
The hooly blisful martir for to seke,
That hem hath holpen whan that they were seeke.
Bifil that in that seson on a day,
In southwerk at the tabard as I lay
Redy to wenden on my pilgrymage
To caunterbury with ful devout corage,
At nyght was come into that hostelrye
Wel nyne and twenty in a compaignye,
Of sondry folk, by aventure yfalle
In felaweshipe, and pilgrimes were they alle,
That toward caunterbury wolden ryde.
The chambres and the stables weren wyde,
And wel we weren esed atte beste.
And shortly, whan the sonne was to reste,
So hadde I spoken with hem everichon
That I was of hir felaweshipe anon,
And made forward erly for to ryse,
To take oure wey ther as I yow devyse.
But nathelees, whil I have tyme and space,
Er that I ferther in this tale pace,
Me thynketh it acordaunt to resoun
To telle yow al the condicioun
Of ech of hem, so as it semed me,
And whiche they weren, and of what degree,
And eek in what array that they were inne;
And at a knyght than wol I first bigynne.

Not aprill yet, but almost. A "palmer" is someone who wears a palm leaf as testimony of having taken a pilgrimage to the Holy Land. I am posting a "modern English" translation below the fold, but bearing in mind that Chaucer wrote in the closest thing to modern English at the time - some say invented modern English in literature. The British Isles had many languages and language variants at the time; Anglo-Saxon, French, Gaelic, Welsh, etc. Just consider how many Norman-French words he uses. What the literate and well-educated Jeff Chaucer wrote was and is pretty much modern English - and fine job he did with it.

Birches

When I see birches bend to left and right
Across the lines of straighter darker trees,
I like to think some boy's been swinging them.
But swinging doesn't bend them down to stay.
Ice-storms do that. Often you must have seen them
Loaded with ice a sunny winter morning
After a rain. They click upon themselves
As the breeze rises, and turn many-coloured
As the stir cracks and crazes their enamel.
Soon the sun's warmth makes them shed crystal shells
Shattering and avalanching on the snow-crust
Such heaps of broken glass to sweep away
You'd think the inner dome of heaven had fallen.
They are dragged to the withered bracken by the load,
And they seem not to break; though once they are bowed
So low for long, they never right themselves:
You may see their trunks arching in the woods
Years afterwards, trailing their leaves on the ground,
Like girls on hands and knees that throw their hair
Before them over their heads to dry in the sun.

But I was going to say when Truth broke in
With all her matter-of-fact about the ice-storm,
I should prefer to have some boy bend them
As he went out and in to fetch the cows--
Some boy too far from town to learn baseball,
Whose only play was what he found himself,
Summer or winter, and could play alone.
One by one he subdued his father's trees
By riding them down over and over again
Until he took the stiffness out of them,
And not one but hung limp, not one was left
For him to conquer. He learned all there was
To learn about not launching out too soon
And so not carrying the tree away
Clear to the ground. He always kept his poise
To the top branches, climbing carefully
With the same pains you use to fill a cup
Up to the brim, and even above the brim.
Then he flung outward, feet first, with a swish,
Kicking his way down through the air to the ground.

So was I once myself a swinger of birches.
And so I dream of going back to be.
It's when I'm weary of considerations,
And life is too much like a pathless wood
Where your face burns and tickles with the cobwebs
Broken across it, and one eye is weeping
From a twig's having lashed across it open.
I'd like to get away from earth awhile
And then come back to it and begin over.
May no fate wilfully misunderstand me
And half grant what I wish and snatch me away
Not to return. Earth's the right place for love:
I don't know where it's likely to go better.
I'd like to go by climbing a birch tree
And climb black branches up a snow-white trunk
Toward heaven, till the tree could bear no more,
But dipped its top and set me down again.
That would be good both going and coming back.
One could do worse than be a swinger of birches.

You can hear Frost reading this poem here (corrected that link - he reads several poems there including Birches.)

Photo: Frost's farm in Derry, NH

THE BATTLE OF SALAMIS  (from "The Persians")

The night was passing, and the Grecian host


By no means sought to issue forth unseen.


But when indeed the day with her white steeds


Held all the earth, resplendent to behold,


First from the Greeks the loud-resounding din


Of song triumphant came; and shrill at once


Echo responded from the island rock.


Then upon all barbarians terror fell,


Thus disappointed; for not as for flight


The Hellenes sang the holy pæan then,


But setting forth to battle valiantly.


The bugle with its note inflamed them all;


And straightway with the dip of plashing oars


They smote the deep sea water at command,


And quickly all were plainly to be seen.


Their right wing first in orderly array


Led on, and second all the armament


Followed them forth; and meanwhile there was heard


A mighty shout: "Come, O ye sons of Greeks,


Make free your country, make your children free,


Your wives, and fanes of your ancestral gods,


And your sires' tombs! For all we now contend!"


And from our side the rush of Persian speech


Replied. No longer might the crisis wait.


At once ship smote on ship with brazen beak;


A vessel of the Greeks began the attack,


Crushing the stem of a Phoenician ship.


Each on a different vessel turned its prow.


At first the current of the Persian host


Withstood; but when within the strait the throng


Of ships was gathered, and they could not aid


Each other, but by their own brazen bows


Were struck, they shattered all our naval host.


The Grecian vessels not unskillfully


Were smiting round about; the hulls of ships


Were overset; the sea was hid from sight,


Covered with wreckage and the death of men;


The reefs and headlands were with corpses filled,


And in disordered flight each ship was rowed,


As many as were of the Persian host.


But they, like tunnies or some shoal of fish,


With broken oars and fragments of the wrecks


Struck us and clove us; and at once a cry


Of lamentation filled the briny sea,


Till the black darkness' eye did rescue us.


The number of our griefs, not though ten days


I talked together, could I fully tell;


But this know well, that never in one day


Perished so great a multitude of men.

(This English translation by William Cranston Lawton of 'The Battle of Salamis' is reprinted from Greek Poets in English Verse. Ed. William Hyde Appleton. Cambridge: The Riverside Press, 1893.)

The Vanity of his Passion

O you, who hear in scattered verse the sound
Of all those sighs with which my heart I fed,
When I, by youthful error was misled,
Unlike my present self in passion drowned;
Who hears the woes, the pleadings that abound
Throughout my song, by hopes and vain griefs bred;
If ever true love its influence over you shed,
Oh ! let your pity be with pardon crowned.
But now full well I see how to the crowd
For a long time I proved a public jest:
Even by myself my folly is confessed:
And of my vanity, what's left is shame,
Repentance, and a knowledge deep impressed,
That worldly pleasure is a passing dream.

Sonnet written by Francesco Petrarca for Laura, of course. Who else? This devout Renaissance poet drew inspiration from Dante, but maybe never escaped his shadow.

Said he, in his Letter to Posterity (everybody should write a ltter to posterity):

"In my youth I was blessed with an agile, active body, though not particularly strong; and while I cannot boast of being very handsome, I was good-looking enough in my younger days. I had a clear complexion, between light and dark, lively eyes, and for many years sharp vision, which, however, unexpectedly deserted me when I passed my sixtieth birthday, and forced me, reluctantly, to resort to the use of glasses. Although I had always been perfectly healthy, old age assailed me with its usual array of discomforts."

War (1870)

When a child,
certain skies sharpened my vision:
all their characters were reflected in my face.
The Phenomena were roused -
At present,
the eternal inflection of moments
and the infinity of mathematics
drives me through this world where I meet with every civil honor,
respected by strange children and prodigious affections -
I dream of a War of right and of might,
of unlooked-for logic.
It is as simple
as a musical phrase.

(from Illuminations. Sadly, one must be careful about posting poetry in translation - publishers own the copyrights, so you just have to buy the books. Two Rimbaud websites, here and here.)

'Terence, this is stupid stuff.
You eat your victuals fast enogh;
There can't be much amiss, 'tis 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, 'tis our turn now
To hear such tunes as killed the cow.
Pretty friendship 'tis to rhyme
Your friends to death before their time
Moping melancholy mad:
Come, pipe a tune to dance to, lad.'

   Why, if ’tis 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.

from Verse LXll, A Shropshire Lad, by A.E. Housman. Read entire

The Emperor of Ice Cream

Blow, blow, thou winter wind (from Act ll, Scene 7 of As You Like it, 1600)

Blow, blow, thou winter wind.
Thou art not so unkind
As man’s ingratitude;
Thy tooth is not so keen,
Because thou art not seen,
Although thy breath be rude.
Heigh-ho! sing, heigh-ho! unto the green holly:
Most friendship is feigning, most loving mere folly:
Then, heigh-ho, the holly!
This life is most jolly.
Freeze, freeze, thou bitter sky,
That dost not bite so nigh
As benefits forgot:
Though thou the waters warp,
Thy sting is not so sharp
As friend remember’d not.
Heigh-ho! sing, &c.

h/t, Vanderleun - Richard Burton reads Gerard Manley Hopkins' poem 'The Leaden Echo & The Golden Echo'.

258

There’s a certain Slant of light,
Winter Afternoons —
That oppresses, like the Heft
Of Cathedral Tunes —

Heavenly Hurt, it gives us —
We can find no scar,
But internal difference,
Where the Meanings, are —

None may teach it — Any —
’Tis the Seal Despair —
An imperial affliction
Sent us of the Air —

When it comes, the Landscape listens —
Shadows — hold their breath —
When it goes, ’tis like the Distance
On the look of Death —

Aftermath

When the summer fields are mown, 
When the birds are fledged and flown, 
And the dry leaves strew the path; 
With the falling of the snow, 
With the cawing of the crow, 
Once again the fields we mow 
And gather in the aftermath. 

Not the sweet, new grass with flowers 
Is this harvesting of ours; 
Not the upland clover bloom; 
But the rowen mixed with weeds, 
Tangled tufts from marsh and meads, 
Where the poppy drops its seeds 
In the silence and the gloom.

Design

I found a dimpled spider, fat and white,
On a white heal-all, holding up a moth
Like a white piece of rigid satin cloth -
Assorted characters of death and blight
Mixed ready to begin the morning right,
Like the ingredients of a witches' broth -
A snow-drop spider, a flower like a froth,
And dead wings carried like a paper kite.

What had that flower to do with being white,
The wayside blue and innocent heal-all?
What brought the kindred spider to that height,
Then steered the white moth thither in the night?
What but design of darkness to appall? -
If design govern in a thing so small.

I usually let poems stand on their own, but I cannot resist commenting that this little poem is itself design personified, as complex and intricate as a watch or a cobweb. I think he spent a lot of time working this poem. BTW, as the poem discusses, Heal-All, or Self-Heal (Prunella) is blue (as in photo).

Sweeney Among The Nightingales

Apeneck Sweeney spreads his knees
Letting his arms hang down to laugh,
The zebra stripes along his jaw
Swelling to maculate giraffe.

The yellow fog that rubs its back upon the window-panes,

The yellow smoke that rubs its muzzle on the window-panes,

Licked its tongue into the corners of the evening,

Lingered upon the pools that stand in drains,

Let fall upon its back the soot that falls from chimneys,

Slipped by the terrace, made a sudden leap,

And seeing that it was a soft October night,

Curled once about the house, and fell asleep.

 

And indeed there will be time

For the yellow smoke that slides along the street,

Rubbing its back upon the window-panes;

There will be time, there will be time

To prepare a face to meet the faces that you meet;

There will be time to murder and create,

And time for all the works and days of hands

That lift and drop a question on your plate;

Time for you and time for me,

And time yet for a hundred indecisions,

And for a hundred visions and revisions,

Before the taking of a toast and tea.

Toast and tea, we used to figger, was the final Communion - Brit-style.

When I was in high school, we all memorized Prufrock. Not because we had to, but because we liked to. As I always say, I define poetry as any writing which contains an inevitability of versification, with some coherence of imagery. Poetry is song-writing. I wish we had recordings of Kipling singing his poems. It would be a hoot, I am sure.

(We memorized things competitively when I was in high school. Shakespeare sonnets and soliloquies, lists of Chem equations and math theorems, Civil War dates and other historical dates. From all that I use 1569 today as one of my main ID codes (Shakespeare's birth year). Sophocles. Ozymandius. Kipling. Le Bateau Ivre. Paradise Lost. We had an official annual school tournament to see who could memorize the most lines of the opening of the Iliad, and another with the opening lines of Canterbury Tales in the original good Old English. Many folks would do 100-200 lines without faltering. The kids taking Latin, of course, had their famous and traditional speed declension contests. I even remember memorizing Babi Yar in Russian for kicks - and I spoke no Russian. It just sounded cool, imitating Yevtushenko's voice. Our hockey team specialized in the Iliad contest - somebody on the team always won. Our hockey coach also taught Ancient Greek. It was a point of honor for the team. A good high school, good fun. I hope high school kids still do amusing things like this. God knows what kids learn in college.) 

From an excellent piece on Eliot at Commentary, T.S. Eliot and the Demise of the Literary Culture:

Understatedly spectacular is the way Eliot�s career strikes one today, at time when, it is fair to say, poetry, even to bookish people, is of negligible interest and literary criticism chiefly a means to pursue academic tenure. Literary culture itself, if the sad truth be known, seems to be slowly but decisively shutting down.

The fame Eliot achieved in his lifetime is unfathomable for a poet, or indeed any American or English writer, in our day. In 1956, Eliot lectured on �The Function of Criticism� in a gymnasium at the University of Minnesota to a crowd estimated at 15,000 people.

Read the whole thing. Eliot was a bank teller, of course - and a rock star. Still is a rock star, in my book. His stuff sticks like Velcro. Christ was his rock.

I Sing the Body Electric

An Old Man's Winter Night

All out of doors looked darkly in at him
Through the thin frost, almost in separate stars,
That gathers on the pane in empty rooms.
What kept his eyes from giving back the gaze
Was the lamp tilted near them in his hand.
What kept him from remembering what it was
That brought him to that creaking room was age.
He stood with barrels round him -- at a loss.
And having scared the cellar under him
In clomping there, he scared it once again
In clomping off; -- and scared the outer night,
Which has its sounds, familiar, like the roar
Of trees and crack of branches, common things,
But nothing so like beating on a box.
A light he was to no one but himself
Where now he sat, concerned with he knew what,
A quiet light, and then not even that.
He consigned to the moon, such as she was,
So late-arising, to the broken moon
As better than the sun in any case
For such a charge, his snow upon the roof,
His icicles along the wall to keep;
And slept. The log that shifted with a jolt
Once in the stove, disturbed him and he shifted,
And eased his heavy breathing, but still slept.
One aged man -- one man -- can't keep a house,
A farm, a countryside, or if he can,
It's thus he does it of a winter night.

Overture to a Dance of Locomotives

Children Selecting Books in a Library

With beasts and gods, above, the wall is bright.
The child's head, bent to the book-colored shelves,
Is slow and sidelong and food-gathering,
Moving in blind grace ... yet from the mural, Care
The grey-eyed one, fishing the morning mist,
Seizes the baby hero by the hair
And whispers, in the tongue of gods and children,
Words of a doom as ecumenical as dawn
But blanched like dawn, with dew.
The children's cries
Are to men the cries of crickets, dense with warmth
-- But dip a finger into Fafnir, taste it,
And all their words are plain as chance and pain.
Their tales are full of sorcerers and ogres
Because their lives are: the capricious infinite
That, like parents, no one has yet escaped
Except by luck or magic; and since strength
And wit are useless, be kind or stupid, wait
Some power's gratitude, the tide of things.
Read meanwhile ... hunt among the shelves, as dogs do, grasses,
And find one cure for Everychild's diseases
Beginning: Once upon a time there was
A wolf that fed, a mouse that warned, a bear that rode
A boy. Us men, alas! wolves, mice, bears bore.
And yet wolves, mice, bears, children, gods and men
In slow perambulation up and down the shelves
Of the universe are seeking ... who knows except themselves?
What some escape to, some escape: if we find Swann's
Way better than our own, and trudge on at the back
Of the north wind to -- to -- somewhere east
Of the sun, west of the moon, it is because we live
By trading another's sorrow for our own; another's
Impossibilities, still unbelieved in, for our own ...
"I am myself still?" For a little while, forget:
The world's selves cure that short disease, myself,
And we see bending to us, dewy-eyed, the great
CHANGE, dear to all things not to themselves endeared.

Jarrell, a poet of lost innocence, also wrote one of the wittiest books in modern times, Pictures from an Institution: A Comedy

h/t to Neoneo for today's astonishing verse -

Mr. Flood's Party

Old Eben Flood, climbing alone one night
Over the hill between the town below
And the forsaken upland hermitage
That held as much as he should ever know
On earth again of home, paused warily.
The road was his with not a native near;
And Eben, having leisure, said aloud,
For no man else in Tilbury Town to hear:

"Well, Mr. Flood, we have the harvest moon
Again, and we may not have many more;
The bird is on the wing, the poet says,
And you and I have said it here before.
Drink to the bird." He raised up to the light
The jug that he had gone so far to fill,
And answered huskily: "Well, Mr. Flood,
Since you propose it, I believe I will."

Alone, as if enduring to the end
A valiant armor of scarred hopes outworn,
He stood there in the middle of the road
Like Roland's ghost winding a silent horn.
Below him, in the town among the trees,
Where friends of other days had honored him,
A phantom salutation of the dead
Rang thinly till old Eben's eyes were dim.

Then, as a mother lays her sleeping child
Down tenderly, fearing it may awake,
He set the jug down slowly at his feet
With trembling care, knowing that most things break;
And only when assured that on firm earth
It stood, as the uncertain lives of men
Assuredly did not, he paced away,
And with his hand extended paused again:

"Well, Mr. Flood, we have not met like this
In a long time; and many a change has come
To both of us, I fear, since last it was
We had a drop together. Welcome home!"
Convivially returning with himself,
Again he raised the jug up to the light;
And with an acquiescent quaver said:
"Well, Mr. Flood, if you insist, I might.

"Only a very little, Mr. Flood--
For auld lang syne. No more, sir; that will do."
So, for the time, apparently it did,
And Eben evidently thought so too;
For soon amid the silver loneliness
Of night he lifted up his voice and sang,
Secure, with only two moons listening,
Until the whole harmonious landscape rang--

"For auld lang syne." The weary throat gave out,
The last word wavered; and the song being done,
He raised again the jug regretfully
And shook his head, and was again alone.
There was not much that was ahead of him,
And there was nothing in the town below--
Where strangers would have shut the many doors
That many friends had opened long ago.

Transit

A woman I have never seen before
Steps from the darkness of her town-house door
Just at that crux of time when she is made
So beautiful that she or time must fade.

What use to claim that as she tugs her gloves
A phantom heraldry of all the loves
Blares from the lintel? That the staggered sun
Forgets, in his confusion, how to run?

Still, nothing changes as her perfect feet
Click down the walk that issues in the street,
Leaving the stations of her body there
Like whips that map the countries of the air.