Poets and poems we have studied

For our records and for future reference, please post the name of your poet, the poems you discussed, and any other pertinent information for the class about the poet. (Note: you do not have to post your whole paper).

Thank you.

I haven't gone yet but I'll be doing James A. Wright and his poems, "On the Skeleton of a Hound," and, "Saint Judas."

On the Skeleton of a Hound

Nightfall, that saw the morning-glories float
Tendril and string against the crumbling wall,
Nurses him now, his skeleton for grief,
His locks for comfort curled among the leaf.
Shuttles of moonlight weave his shadow tall,
Milkweed and dew flow upward to his throat.
Now catbird feathers plume the apple mound,
And starlings drowse to winter up the ground.
thickened away from speech by fear, I move
Around the body. Over his forepaws, steep
Declivities darken down the moonlight now,
And the long throat that bayed a year ago
Declines from summer. Flies would love to leap
Between his eyes and hum away the space
Between the ears, the hollow where a hare
Could hide; another jealous dog would tumble
The bones apart, angry, the shining crumble
Of a great body gleaming in the air;
Quivering pigeons foul his broken face.
I can imagine men who search the earth
For handy resurrections, overturn
The body of a beetle in its grave;
Whispering men digging for gods might delve
A pocket for these bones, then slowly burn
Twigs in the leaves, pray for another birth.
But I will turn my face away from this
Ruin of summer, collapse of fur and bone.
For once a white hare huddled up the grass,
The sparrows flocked away to see the race.
I stood on darkness, clinging to a stone,
I saw the two leaping alive on ice,
On earth, on leaf, humus and withered vine:
The rabbit splendid in a shroud of shade,
The dog carved on the sunlight, on the air,
Fierce and magnificent his rippled hair,
The cockleburs shaking around his head.
Then, suddenly, the hare leaped beyond pain
Out of the open meadow, and the hound
Followed the voiceless dancer to the moon,
To dark, to death, to other meadows where
Singing young women dance around a fire,
Where love reveres the living.


Scatter this hulk about the dampened ground;
And while the moon rises beyond me, throw
The ribs and spine out of their perfect shape.
For a last charm to the dead, I lift the skull
And toss it over the maples like a ball.
Strewn to the woods, now may that spirit sleep
That flamed over the ground a year ago.
I know the mole will heave a shinbone over,
The earthworm snuggle for a nap on paws,
The honest bees build honey in the head;
The earth knows how to handle the great dead
Who lived the body out, and broke its laws,
Knocked down a fence, tore up a field of clover.

Saint Judas

When I went out to kill myself, I caught
A pack of hoodlums beating up a man.
Running to spare his suffering, I forgot
My name, my number, how my day began,
How soldiers milled around the garden stone
And sang amusing songs; how all that day
Their javelins measured crowds; how I alone
Bargained the proper coins, and slipped away.

Banished from heaven, I found this victim beaten,
Stripped, kneed, and left to cry. Dropping my rope
Aside, I ran, ignored the uniforms:
Then I remembered bread my flesh had eaten,
The kiss that ate my flesh. Flayed without hope,
I held the man for nothing in my arms.

"Traveling through the Dark"

Traveling through the dark I found a deer
dead on the edge of the Wilson River road.
It is usually best to roll them into the canyon:
that road is narrow; to swerve might make more dead.

By glow of the tail-light I stumbled back of the car
and stood by the heap, a doe, a recent killing;
she had stiffened already, almost cold.
I dragged her off; she was large in the belly.

My fingers touching her side brought me the reason--
her side was warm; her fawn lay there waiting,
alive, still, never to be born.
Beside that mountain road I hesitated.

The car aimed ahead its lowered parking lights;
under the hood purred the steady engine.
I stood in the glare of the warm exhaust turning red;
around our group I could hear the wilderness listen.

I thought hard for us all--my only swerving--,
then pushed her over the edge into the river.



"Notice What This Poem Is Not Doing"

The light along the hills in the morning
comes down slowly, naming the trees
white, then coasting the ground for stones to nominate.

Notice what this poem is not doing.

A house, a house, a barn, the old
quarry, where the river shrugs--
how much of this place is yours?

Notice what this poem is not doing.

Every person gone has taken a stone
to hold, and catch the sun. The carving
says, "Not here, but called away."

Notice what this poem is not doing.

The sun, the earth, the sky, all wait.

http://www.bartleby.com/198/1.html

It has been noted that The Love Song of J. Alfred Prufrock is “[t]he best-known modern instance” of dramatic monologue because it exhibits three definitive features (Abrams 70):

A single person, who is patently not the poet, utters the entire poem in a specific situation at a critical moment… This person addresses and interacts with one or more other people; but we know of the auditor's presence and what they say and do only from clues in the discourse of the single speaker… The principle controlling the poet's selection and organization of what the lyric speaker says is the speaker's unintentional revelation of his or her temperament and character.

The “single” person who utters all of The Love Song of J. Alfred Prufrock is Prufrock himself. The “critical moment” is an internal crisis of ageing: “I have seen the moment of my greatness flicker…I was afraid” (line 84). As the title suggests, the poem addresses Prufrock’s love. However, his “love” is anonymous and does not represent a specific person but the entire population of women that he has lost touch with (line 35):

In the room the women come and go
Talking of Michelangelo.
-----------------------------------------------------
[They will say: “How his hair is growing thin!”]
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin—
[They will say: “But how his arms and legs are thin!”]
Do I dare
Disturb the universe?

These imagined dialogues are the “clues in the discourse of the single speaker” that Abrams defines. The speakers are the implied but unseen audience that is the second element of a dramatic monologue. They function to illuminates Prufrock’s neurotic perspective. Sandwiched between the embarrassing dialogues are two self-affirming lines that tell a different side of Prufrock’s character. The first creates an image of strength and firmness about his dress. The second reveals that his clothes are rich, modest, and simple. Yet, the lines that bracket his self-appreciation negate the image of a well-dressed Prufrock. In his heart, the speaker knows that his observers will only see his growing frailty.

Rainer Maria Rilke- "God Speaks", trans. by Anita Barrows and Joanna Macy
"Sonnet XXVI, part II" trans. by Robert Hunter

There is something strikingly different about the verses written by Rainer Maria Rilke. It's not the subject manner about which he writes, nor is it the rhyming schemes used in his sonnets or the mournful tone of his elegies. He wrote in German and French, and while he actively read English, never wrote in the language. The words we read and credit to him are not and never were his own; they are the products of various translators, of those given the responsibility of conveying the meaning of his words, who can never say with absolute certainty that they captured their entire essence. Yet the readers give willingly their trust to these middlemen, accepting these words as if they were handed from Rilke himself. It is the voice (usually religious) and musicality with which Rilke writes that transcend the language barrier, carrying with them images of God, death, and the ineffable.

I did the Poet Laureate Mark Strand.


Man and Camel
by Mark Strand


On the eve of my fortieth birthday
I sat on the porch having a smoke
when out of the blue a man and a camel
happened by. Neither uttered a sound
at first, but as they drifted up the street
and out of town the two of them began to sing.
Yet what they sang is still a mystery to me—
the words were indistinct and the tune
too ornamental to recall. Into the desert
they went and as they went their voices
rose as one above the sifting sound
of windblown sand. The wonder of their singing,
its elusive blend of man and camel, seemed
an ideal image for all uncommon couples.
Was this the night that I had waited for
so long? I wanted to believe it was,
but just as they were vanishing, the man
and camel ceased to sing, and galloped
back to town. They stood before my porch,
staring up at me with beady eyes, and said:
"You ruined it. You ruined it forever."

My poet is Ted Kooser, Poet Laureate 2004. The two poems I used are "Abandoned Farmhouse", and "After Years".

Abandoned Farmhouse
http://www.livinghistoryfarm.org/farminginthe40s/movies/KooserAbandoned.html
http://writersalmanac.publicradio.org/index.php?date=2005/05/27

After Years
http://www.poemhunter.com/poem/after-years/

In his two poems "Abandoned Farmhouse" and "After Years", Ted Kooser uses natural imagery and metaphors, as well as rhetorical devices such as alliteration to convey his messages to the reader. His writing is calm and smooth, with a steady rhythm, although it has no rhyming scheme. Through his description, he is able to make the reader feel the speakers emotions, or see what the speaker is seeing, which, in a poem, is a beautiful thing.

Jabberwocky
by Lewis Carroll


'Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.

"Beware the Jabberwock, my son
The jaws that bite, the claws that catch!
Beware the Jubjub bird, and shun
The frumious Bandersnatch!"

He took his vorpal sword in hand;
Long time the manxome foe he sought—
So rested he by the Tumtum tree,
And stood awhile in thought.

And, as in uffish thought he stood,
The Jabberwock, with eyes of flame,
Came whiffling through the tulgey wood,
And burbled as it came!

One, two! One, two! And through and through
The vorpal blade went snicker-snack!
He left it dead, and with its head
He went galumphing back.

"And hast thou slain the Jabberwock?
Come to my arms, my beamish boy!
O frabjous day! Callooh! Callay!"
He chortled in his joy.

'Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.

The Crocodile
by Lewis Carroll


How doth the little crocodile
Improve his shining tail,
And pour the waters of the Nile
On every golden scale!

How cheerfully he seems to grin,
How neatly spreads his claws,
And welcomes little fishes in,
With gently smiling jaws!

I didn't realize we were supposed to post our poems when I did my presentation, so here they are:

September 1, 1939
http://www.poemdujour.com/Sept1.1939.html

Funeral Blues

Stop all the clocks, cut off the telephone,
Prevent the dog from barking with a juicy bone,
Silence the pianos and with muffled drum
Bring out the coffin, let the mourners come.

Let aeroplanes circle moaning overhead
Scribbling on the sky the message He is Dead.
Put crepe bows round the white necks of the public doves,
Let the traffic policemen wear black cotton gloves.

He was my North, my South, my East and West,
My working week and my Sunday rest,
My noon, my midnight, my talk, my song;
I thought that love would last forever: I was wrong.

The stars are not wanted now; put out every one,
Pack up the moon and dismantle the sun,
Pour away the ocean and sweep up the woods;
For nothing now can ever come to any good.

Mumbo Jumbo:
http://www.math.buffalo.edu/~sww/reed/reed_ishmael_poetry.html#isre1

Jacket Notes:
http://www.math.buffalo.edu/~sww/reed/reed_ishmael_poetry.html#Jacket%20Notes

Ishmael Reeds uses Neo-HooDoo, a traditional Afro-American style he describes as:

"... a 'Lost American Church' updated... Neo-HooDoo would rather 'shake that thing' than be stiff and erect... Neo-HooDoo is sexual, sensual and digs that old 'heathen' good good loving... Neo-HooDoo believes that every man is an artist and every artist a priest."

My poet is Sylvia Plath, the two poems I wrote about are "Daddy":

http://www.poets.org/viewmedia.php/prmMID/15291

and "Lady Lazarus":

http://www.poets.org/viewmedia.php/prmMID/15292

In my essay I discussed the fact that Plath wrote mostly about her own emotions and experiences. "Daddy" is about the oppression of Plath by her father and husband, while "Lady Lazarus" expresses Plath's feelings of immortality after she survives a suicide attempt.

My poet was Langston Hughes.

"Theme for Enlgish B"

The instructor said,

Go home and write
a page tonight.
And let that page come out of you--
Then, it will be true.

I wonder if it's that simple?
I am twenty-two, colored, born in Winston-Salem.
I went to school there, then Durham, then here
to this college on the hill above Harlem.
I am the only colored student in my class.
The steps from the hill lead down into Harlem,
through a park, then I cross St. Nicholas,
Eighth Avenue, Seventh, and I come to the Y,
the Harlem Branch Y, where I take the elevator
up to my room, sit down, and write this page:

It's not easy to know what is true for you or me
at twenty-two, my age. But I guess I'm what
I feel and see and hear, Harlem, I hear you:
hear you, hear me--we two--you, me, talk on this page.
(I hear New York, too.) Me--who?
Well, I like to eat, sleep, drink, and be in love.
I like to work, read, learn, and understand life.
I like a pipe for a Christmas present,
or records--Bessie, bop, or Bach.
I guess being colored doesn't make me not like
the same things other folks like who are other races.
So will my page be colored that I write?

Being me, it will not be white.
But it will be
a part of you, instructor.
You are white--
yet a part of me, as I am a part of you.
That's American.
Sometimes perhaps you don't want to be a part of me.
Nor do I often want to be a part of you.
But we are, that's true!
As I learn from you,
I guess you learn from me--
although you're older--and white--
and somewhat more free.

This is my page for English B.

and "Dream Variations"

To fling my arms wide
In some place of the sun,
To whirl and to dance
Till the white day is done.
Then rest at cool evening
Beneath a tall tree
While night comes on gently,
Dark like me--
That is my dream!

To fling my arms wide
In the face of the sun,
Dance! Whirl! Whirl!
Till the quick day is done.
Rest at pale evening . . .
A tall, slim tree . . .
Night coming tenderly
Black like me.

In a Station at the metro

The apparition of these faces in the crowd;
Petals on a wet, black bough.


Invern

Earth's winter cometh
And I being part of all
And sith the spirit of all moveth in me
I must needs bear earth's winter
Drawn cold and grey with hours
And joying in a momentary sun,
Lo I am withered with waiting till my spring cometh!
Or crouch covetous of warmth
O'er scant-logged ingle blaze,
Must take cramped joy in tomed Longinus
That, read I him first time
The woods agleam with summer
Or mid desirous winds of spring,
Had set me singing spheres
Or made heart to wander forth among warm roses
Or curl in grass next neath a kindly moon.


Canto 1

And then went down to the ship,
Set keel to breakers, forth on the godly sea, and
We set up mast and sail on that swart ship,
Bore sheep aboard her, and our bodies also
Heavy with weeping, and winds from sternward
Bore us onward with bellying canvas,
Crice's this craft, the trim-coifed goddess.
Then sat we amidships, wind jamming the tiller,
Thus with stretched sail, we went over sea till day's end.
Sun to his slumber, shadows o'er all the ocean,
Came we then to the bounds of deepest water,
To the Kimmerian lands, and peopled cities
Covered with close-webbed mist, unpierced ever
With glitter of sun-rays
Nor with stars stretched, nor looking back from heaven
Swartest night stretched over wreteched men there.
The ocean flowing backward, came we then to the place
Aforesaid by Circe.
Here did they rites, Perimedes and Eurylochus,
And drawing sword from my hip
I dug the ell-square pitkin;
Poured we libations unto each the dead,
First mead and then sweet wine, water mixed with white flour
Then prayed I many a prayer to the sickly death's-heads;
As set in Ithaca, sterile bulls of the best
For sacrifice, heaping the pyre with goods,
A sheep to Tiresias only, black and a bell-sheep.
Dark blood flowed in the fosse,
Souls out of Erebus, cadaverous dead, of brides
Of youths and of the old who had borne much;
Souls stained with recent tears, girls tender,
Men many, mauled with bronze lance heads,
Battle spoil, bearing yet dreory arms,
These many crowded about me; with shouting,
Pallor upon me, cried to my men for more beasts;
Slaughtered the herds, sheep slain of bronze;
Poured ointment, cried to the gods,
To Pluto the strong, and praised Proserpine;
Unsheathed the narrow sword,
I sat to keep off the impetuous impotent dead,
Till I should hear Tiresias.
But first Elpenor came, our friend Elpenor,
Unburied, cast on the wide earth,
Limbs that we left in the house of Circe,
Unwept, unwrapped in the sepulchre, since toils urged other.
Pitiful spirit. And I cried in hurried speech:
"Elpenor, how art thou come to this dark coast?
"Cam'st thou afoot, outstripping seamen?"
And he in heavy speech:
"Ill fate and abundant wine. I slept in Crice's ingle.
"Going down the long ladder unguarded,
"I fell against the buttress,
"Shattered the nape-nerve, the soul sought Avernus.
"But thou, O King, I bid remember me, unwept, unburied,
"Heap up mine arms, be tomb by sea-bord, and inscribed:
"A man of no fortune, and with a name to come.
"And set my oar up, that I swung mid fellows."

And Anticlea came, whom I beat off, and then Tiresias Theban,
Holding his golden wand, knew me, and spoke first:
"A second time? why? man of ill star,
"Facing the sunless dead and this joyless region?
"Stand from the fosse, leave me my bloody bever
"For soothsay."
And I stepped back,
And he strong with the blood, said then: "Odysseus
"Shalt return through spiteful Neptune, over dark seas,
"Lose all companions." Then Anticlea came.
Lie quiet Divus. I mean, that is Andreas Divus,
In officina Wecheli, 1538, out of Homer.
And he sailed, by Sirens and thence outwards and away
And unto Crice.
Venerandam,
In the Cretan's phrase, with the golden crown, Aphrodite,
Cypri munimenta sortita est, mirthful, oricalchi, with golden
Girdle and breat bands, thou with dark eyelids
Bearing the golden bough of Argicidia. So that:




Poem: Rats
http://www.youtube.com/watch?v=gdkp4eKY_h4&feature=related

The Journey

One day you finally knew
what you had to do, and began,
though the voices around you
kept shouting
their bad advice --
though the whole house
began to tremble
and you felt the old tug
at your ankles.
"Mend my life!"
each voice cried.
But you didn't stop.
You knew what you had to do,
though the wind pried
with its stiff fingers
at the very foundations,
though their melancholy
was terrible.
It was already late
enough, and a wild night,
and the road full of fallen
branches and stones.
But little by little,
as you left their voices behind,
the stars began to burn
through the sheets of clouds,
and there was a new voice
which you slowly
recognized as your own,
that kept you company
as you strode deeper and deeper
into the world,
determined to do
the only thing you could do --
determined to save
the only life you could save.


Wild Geese
by Mary Oliver

You do not have to be good.
You do not have to walk on your knees
for a hundred miles through the desert repenting.
You only have to let the soft animal of your body
love what it loves.
Tell me about despair, yours, and I will tell you mine.
Meanwhile the world goes on.
Meanwhile the sun and the clear pebbles of the rain
are moving across the landscapes,
over the prairies and the deep trees,
the mountains and the rivers.
Meanwhile the wild geese, high in the clean blue air,
are heading home again.
Whoever you are, no matter how lonely,
the world offers itself to your imagination,
calls to you like the wild geese, harsh and exciting —
over and over announcing your place
in the family of things.

The poetry of e. e. cummings
All formating is intentional. Excuse the code block, it's to preserve the formatting.

next to of course god america i
"next to of course god america i
love you land of the pilgrims' and so forth oh
say can you see by the dawn's early my
country 'tis of centuries come and go
and are no more what of it we should worry
in every language even deafanddumb
thy sons acclaim your glorious name by gorry
by jingo by gee by gosh by gum
why talk of beauty what could be more beaut-
iful than these heroic happy dead
who rushed like lions to the roaring slaughter
they did not stop to think they died instead
then shall the voice of liberty be mute?"

He spoke. And drank rapidly a glass of water

in just

Code:


 in Just-
spring      when the world is mud-
luscious the little
lame balloonman

whistles      far      and wee

and eddieandbill come
running from marbles and
piracies and it's
spring

when the world is puddle-wonderful

the queer
old balloonman whistles
far      and      wee
and bettyandisbel come dancing

 from hop-scotch and jump-rope and

it's
spring
and
    the

            goat-footed

balloonMan      whistles
far
and
wee