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Author Topic: Poetry Appreciation Thread.  (Read 19823 times)
Ian Pace
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« Reply #225 on: 23:24:01, 15-09-2007 »

Lord Byron - 'When a Man Hath No Freedom'
 

    When a man hath no freedom to fight for at home,
        Let him combat for that of his neighbors;
    Let him think of the glories of Greece and of Rome,
        And get knocked on his head for his labors.

    To do good to mankind is the chivalrous plan,
        And is always as nobly requited;
    Then battle for freedom wherever you can,
        And, if not shot or hanged, you'll get knighted.

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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
Ian Pace
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« Reply #226 on: 23:31:59, 15-09-2007 »

More Byron - from 'English Bards and Scottish Reviewers'

The time has been, when yet the muse was young,
When Homer swept the lyre, and Maro sung,
An epic scarce ten centuries could claim,
While awe?struck nations hail'd the magic name:
The work of each immortal bard appears
The single wonder of a thousand years.
Empires have moulder'd from the face of earth,
Tongues have expired with those who gave them birth,
Without the glory such a strain can give,
As even is ruin bids the language live.
Not so with us, though minor bards, content
On one great work a life of labour spent:
With eagle pinion soaring to the skies,
Behold the ballad?monger Southey rise!
To him let Camoëns, Milton, Tasso yield,
Whose annual strains, like armies, take the field.
First in the ranks see Joan of Arc advance,
The scourge of England and the boast of France!
Though burnt by wicked Bedford for a witch,
Behold statue placed in glory's niche;
Her fetters burst, and just released from prison,
A virgin phoenix from her ashes risen.
Next see tremendous Thalaba come on,
Arabia's monstrous, wild, and wondrous son:
Domdaniel's dread destroyer, who o'erthrew
More mad magicians than the world e'er knew.
Immortal hero! all thy foes o'ercome,
For ever reign?the rival of Tom Thumb!
Since startled metre fled before thy face,
Well wart thou doom'd the last of all thy race!
Well might triumphant genii bear thee hence,
Illustrious conqueror of common sense!
Now, last and greatest, Madoc spreads his sails,
Cacique in Mexico, and prince in Wales;
Tells us strange tales, as other travellers do,
More old than Mandeville's, and not so true.
Oh! Southey! Southey! cease thy varied song!
A bard may chant too often and too long:
As thou art strong in verse, in mercy, spare!
A fourth, alas! were more than we could bear.
But if, in spite of all the world can say,
Thou still wilt verseward plod thy weary way;
If still in Berkley ballads most uncivil,
Thou wilt devote old women to the devil
The babe unborn thy dread intent may rue:
`God help thee,' Southey, and thy readers too.

Next comes the dull disciple of thy school,
That mild apostate from poetic rule,
The simple Wordsworth, framer of a lay
As soft as evening in his favourite May
Who warns his friend `to shake off toil and trouble,
And quit his books, for fear of growing double;'
Who, both by precept and example, shows
That prose is verse, and verse is merely prose;
Convincing all, by demonstration plain,
Poetic souls delight in prose insane;
And Christmas stories tortured into rhyme
Contain the essence of the true sublime.
Thus, when he tells the tale of Betty Foy,
The idiot mother of `an idiot boy';
A moon?struck, silly lad, who lost his way,
And, like his bard, confounded night with day;
So close on each pathetic part he dwells,
And each adventure so sublimely tells,
That all who view the `idiot in his glory'
Conceive the bard the hero of the story.

Shall gentle Coleridge pass unnoticed here,
To turgid ode and tumid stanza dear?
Though themes of innocence amuse him best,
Yet still obscurity's a welcome guest.
If inspiration should her aid refuse
To him who takes a pixy for a muse,
Yet none in lofty numbers can surpass
The bard who soars to elegise an ass.
So well the subject suits his noble mind,
He brays the laureat of the long?ear'd kind.
Oh! wonder?working Lewis! monk, or bard,
Who fain wouldst make Parnassus a churchyard!
Lo! wreaths of yew, not laurel, bind thy brow,
Thy muse a sprite, Apollo's sexton thou!
Whether on ancient tombs thou tak'st thy stand,
By gibb'ring spectres hail'd, thy kindred band;
Or tracest chaste descriptions on thy page,
To please the females of our modest age;
All hail, M. P.! from whose infernal brain
Thin?sheeted phantoms glide, a grisly train;
At whose command `grim women' throng in crowds,
And kings of firs, of water and of clouds,
With `small gray men," wild yagers,' and what not,
To crown with honour thee and Walter Scott;
Again all hail! if tales like thine may please,
St. Luke alone can vanquish the disease;
Even Satan's self with thee might dread to dwell,
And in thy skull discern a deeper hell.


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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
MT Wessel
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« Reply #227 on: 14:20:56, 16-09-2007 »

Robert Wyatt - Little Red Robin Hood Hit The Road

i fight with the handle
of my little brown broom

i pull out the wires
of the telephone

i hurt in the head and
i hurt in the aching bone

now I smash up the telly
with the remains of
the broken phone

i'm fighting for the crust
of the little brown loaf

i want it
i want it
i want it
give it to me

i'll give it you back when
i finish the lunch/tea

i lie in the road
trying to trip up
the passing cars

yes me and the hedgehog
we're bursting the tyres all day

as we roll down the highway
towards the setting sun

i reflect on the life
of the Highwayman
yum yum

now I smash up the telly
and what's left of
the broken phone
« Last Edit: 21:25:29, 16-09-2007 by MT Wessel » Logged

lignum crucis arbour scientiae
Janthefan
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« Reply #228 on: 12:51:22, 17-09-2007 »




             In My Craft or Sullen Art




             In my craft or sullen art
             Exercised in the still night
             When only the moon rages
             And the lovers lie abed
             With all their griefs in their arms
             I labour by singing light
             Not for ambition or bread
             Or the strut and trade of charms
             On the ivory stages
             But for the common wages
             Of their most secret heart.


              Not for the proud man apart
              From the raging moon I write
              On these spindthrift pages
              Nor for the towering dead
              With their nightingales and psalms
              But for the lovers, their arms
              Round the griefs of the ages,
              Who pay no praise or wages
              Nor heed my craft or art.


                                  Dylan Thomas

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Live simply that all may simply live
harmonyharmony
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« Reply #229 on: 22:42:30, 17-09-2007 »

             And the lovers lie abed
             With all their griefs in their arms
That's a nice line.  Grin

I've been looking for something appropriate by Mina Loy to post here, but it's such a long time since I read any that I was having trouble until I saw:

Love Songs to Joannes

no. 3

We might have coupled
In the bedridden monopoly of a moment
Or broken flesh with one another
At the profane communion table
Where wine is spilled on promiscuous lips

We might have given birth to a butterfly
With the the daily news
Printed in blood on its wings.

no. 10

Shuttle-cock and battle-door
A little pink love
And feathers are strewn

no. 11

Dear one     at your mercy
Our Universe
Is only
A colourless onion
You derobe
Sheath by sheath
     Remaining
A disheartening odor
About your nervy hands


I might post some more of these little poems later. When I'm grown up I might even try to set these for voice and ensemble.
« Last Edit: 22:45:29, 17-09-2007 by harmonyharmony » Logged

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Janthefan
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« Reply #230 on: 09:49:12, 18-09-2007 »

I only discovered the Dylan Thomas on Sunday, when Mark Padmore read it, before singing it at St. Michaels Mount on Sunday afternoon....lovely.

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increpatio
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« Reply #231 on: 18:01:26, 28-09-2007 »

Hmm.  This is my first post on this thread.  I'm not too well-versed (so to speak) when it comes to poetry; Outside of school I've read (and enjoyed) some Whitman, Dickinson, Sasson, &c., as well as a few longer poems like (some of) the Faerie Qveene, Don juan, and De Rerum Natura (that was designed to prepare me for Metamorphosis, only I found it to be a fantastic pleasure in and of itself). 

So then I came across an essay by Italo Calvino which talked about Lucretius as being the first poet of "things" and his natural successor as being "Ponge".  So, rather liking the former, I sought out the latter.  Only, in spite of the niceness of the idea, I don't see that Ponge's approach is much different from that of, say, Wordsworth in that it's rather centred about human experience of things, or with the heavy use of simile/metaphor.  In any event, though I very very much do like the idea, and this blurb that's been attached to Ponge, but I don't see that from what I've read it actually really applies.

I really like The Bells.  First poem that really got me liking alliteration and the sound of words (though a recording):

Quote
THE BELLS
by Edgar Allan Poe
1849

I

Hear the sledges with the bells-
Silver bells!
What a world of merriment their melody foretells!
How they tinkle, tinkle, tinkle,
In the icy air of night!
While the stars that oversprinkle
All the heavens, seem to twinkle
With a crystalline delight;
Keeping time, time, time,
In a sort of Runic rhyme,
To the tintinnabulation that so musically wells
From the bells, bells, bells, bells,
Bells, bells, bells-
From the jingling and the tinkling of the bells.

II

Hear the mellow wedding bells,
Golden bells!
What a world of happiness their harmony foretells!
Through the balmy air of night
How they ring out their delight!
From the molten-golden notes,
And an in tune,
What a liquid ditty floats
To the turtle-dove that listens, while she gloats
On the moon!
Oh, from out the sounding cells,
What a gush of euphony voluminously wells!
How it swells!
How it dwells
On the Future! how it tells
Of the rapture that impels
To the swinging and the ringing
Of the bells, bells, bells,
Of the bells, bells, bells,bells,
Bells, bells, bells-
To the rhyming and the chiming of the bells!

III

Hear the loud alarum bells-
Brazen bells!
What a tale of terror, now, their turbulency tells!
In the startled ear of night
How they scream out their affright!
Too much horrified to speak,
They can only shriek, shriek,
Out of tune,
In a clamorous appealing to the mercy of the fire,
In a mad expostulation with the deaf and frantic fire,
Leaping higher, higher, higher,
With a desperate desire,
And a resolute endeavor,
Now–now to sit or never,
By the side of the pale-faced moon.
Oh, the bells, bells, bells!
What a tale their terror tells
Of Despair!
How they clang, and clash, and roar!
What a horror they outpour
On the bosom of the palpitating air!
Yet the ear it fully knows,
By the twanging,
And the clanging,
How the danger ebbs and flows:
Yet the ear distinctly tells,
In the jangling,
And the wrangling,
How the danger sinks and swells,
By the sinking or the swelling in the anger of the bells-
Of the bells-
Of the bells, bells, bells,bells,
Bells, bells, bells-
In the clamor and the clangor of the bells!

IV

Hear the tolling of the bells-
Iron Bells!
What a world of solemn thought their monody compels!
In the silence of the night,
How we shiver with affright
At the melancholy menace of their tone!
For every sound that floats
From the rust within their throats
Is a groan.
And the people–ah, the people-
They that dwell up in the steeple,
All Alone
And who, tolling, tolling, tolling,
In that muffled monotone,
Feel a glory in so rolling
On the human heart a stone-
They are neither man nor woman-
They are neither brute nor human-
They are Ghouls:
And their king it is who tolls;
And he rolls, rolls, rolls,
Rolls
A paean from the bells!
And his merry bosom swells
With the paean of the bells!
And he dances, and he yells;
Keeping time, time, time,
In a sort of Runic rhyme,
To the paean of the bells-
Of the bells:
Keeping time, time, time,
In a sort of Runic rhyme,
To the throbbing of the bells-
Of the bells, bells, bells-
To the sobbing of the bells;
Keeping time, time, time,
As he knells, knells, knells,
In a happy Runic rhyme,
To the rolling of the bells-
Of the bells, bells, bells:
To the tolling of the bells,
Of the bells, bells, bells, bells-
Bells, bells, bells-
To the moaning and the groaning of the bells.

THE END


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Mary Chambers
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« Reply #232 on: 18:22:07, 28-09-2007 »

Trouble is with The Bells, I remember some very over-dramatic recitations of it at school. Do you know the Rachmaninov setting? It's in Russian, of course!
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increpatio
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« Reply #233 on: 18:46:45, 28-09-2007 »

Trouble is with The Bells, I remember some very over-dramatic recitations of it at school. Do you know the Rachmaninov setting? It's in Russian, of course!
No; no I don't!  Will check it out.  Think I have the songs lying about my hard disk somewhere.
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roslynmuse
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« Reply #234 on: 21:46:22, 28-09-2007 »

Inc, it's a choral symphony, fantastic piece in four mts (although not the most cheerful piece I know!)
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pim_derks
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« Reply #235 on: 15:45:57, 29-09-2007 »

Our Strange Language

When the English tongue we speak,
Why is "break" not rhymed with "freak"?
Will you tell me why it's true
We say "sew", but also "few",
And the maker of a verse
Cannot cap his "horse" with "worse",
"Beard" is not the same as "heard",
"Cord" is different from "word";
"Cow" is cow, "low" is low;
"Shoe" is never rhymed with "foe".
Think of "hose" and "dose" and "lose",
And of "goose", and yet of "choose",
Think of "comb", and "tomb", and "bomb",
"Doll" and "roll", and "home" and "some",
And since "pay" is rhymed with "say",
Why not "paid" with "said", I pray?
Think of "blood" and "food" and "good";
"Mould" is not pronounced like "could".
Wherefore "done", but "gone" and "lone"?
Is there any reason known?
No, in short, it seems to me:
Sound and letters disagree.

E.L. Sabin

(Oude en Nieuwe Vrienden uit de Fransche, Duitsche en Engelsche Poëzie saamgebracht door H.J. van Wijlen en J.A. Wortman)
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time_is_now
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« Reply #236 on: 16:43:33, 29-09-2007 »

Love Songs in Age

She kept her songs, they took so little space,
  The covers pleased her:
One bleached from lying in a sunny place,
One marked in circles by a vase of water,
One mended, when a tidy fit had seized her,
   And coloured, by her daughter -
So they had waited, till in widowhood
She found them, looking for something else, and stood

Relearning how each frank submissive chord
   Had ushered in
Word after sprawling hyphenated word,
And the unfailing sense of being young
Spread out like a spring-woken tree, wherein
   That hidden freshness, sung,
That certainty of time laid up in store
As when she played them first. But, even more,

The glare of that much-mentioned brilliance, love,
   Broke out, to show
Its bright incipience sailing above,
Still promising to solve, and satisfy,
And set unchangeably in order. So
   To pile them back, to cry,
Was hard, without lamely admitting how
It had not done so then, and could not now.

Philip Larkin


Only one half-rhyme there, Pim. Wink
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pim_derks
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« Reply #237 on: 17:08:11, 29-09-2007 »

Many thanks, t-i.n. Smiley


First Sight

Lambs that learn to walk in snow
When their bleating clouds the air
Meet a vast unwelcome, know
Nothing but a sunless glare.
Newly stumbling to and fro
All they find, outside the fold,
Is a wretched width of cold.

As they wait beside the ewe,
Her fleeces wetly caked, there lies
Hidden round them, waiting too,
Earth's immeasurable surprise.
They could not grasp it if they knew,
What so soon will wake and grow
Utterly unlike the snow.

Philip Larkin



(Because of the climate change we don't see many lambs walking in snow anymore in the Netherlands. Is this also the case in Britain?)
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harmonyharmony
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« Reply #238 on: 21:05:19, 30-09-2007 »

I think this is great:

e e cummings, i like my body when it is with your

i like my body when it is with your
body.    It is so quite new a thing.
Muscles better and nerves more.
i like your body.    i like what it does,
i like its hows.    i like to feel the spine
of your body and its bones,and the trembling
-firm-smooth ness and which i will
again and again and agin
kiss,    i like kissing this and that of you,
i like,slowly stroking the,shocking fuzz
of your electric fur, and what-is-it comes
over parting flesh....And eyes big love-crumbs,

and possibly i like the thrill

of under me you so quite new
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'is this all we can do?'
anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965)
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MrYorick
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« Reply #239 on: 22:40:42, 30-09-2007 »

It's beautiful!  Smiley

Something less jolly:

When Dead

It will be much better when
I am under the bough;
I shall be more myself, Dear, then,
Than I am now.

No sign of querulousness
To wear you out
Shall I show there:  strivings and stress
Be quite without.

This fleeting life-brief blight
Will have gone past
When I resume my old and right
Place in the Vast.

And when you come to me
To show you true,
Doubt not I shall infallibly
Be waiting for you.

Thomas Hardy
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