Nuns fret not at their convent’s narrow room; And hermits are contented with their cells; And students with their pensive citadels; Maids at the wheel, the weaver at his loom, Sit blithe and happy; bees that soar for bloom, High as the highest Peak of Furness-fells, Will murmur by the hour in foxglove bells: In truth the prison, into which we doom
—Now let me tell you why I said that. Try to put yourself into an experimental mood. Stop right here and try to review everything you felt about that line. Did you accept it as wisdom? as perception? as a gem, maybe, for your private anthology of Telling Truths?
My point is that the line is fraudulent. A blurb. It is also relevant that I know
When chapman billies leave the street, And drouthy neebors neebors meet, As market-days are wearing late, And folk begin to tak the gate; While we sit bousin, at the nappy, And gettin fou and unco happy, We think na on the lang Scots miles, The mosses, waters, slaps, and stiles, That lie between us and our hame, Whare sits our sulky, sullen dame, Gathering her brows like gathering storm, Nursing her wrath to keep it warm.
This truth fand honest Tam o' Shanter, As he frae Ayr ae night did canter:
If by dull rhymes our English must be chain'd, And, like Andromeda, the Sonnet sweet Fetter'd, in spite of pained loveliness; Let us find out, if we must be constrain'd, Sandals more interwoven and complete To fit the naked foot of poesy; Let us inspect the lyre, and weigh the stress Of every chord, and see what may be gain'd By ear industrious, and attention meet: Misers of sound and syllable, no less Than Midas of his coinage, let us be Jealous of dead leaves in the bay wreath crown; So, if we may not let the Muse be free, She will be bound with garlands of her own.
They dub thee idler, smiling sneeringly, And why? because, forsooth, so many moons, Here dwelling voiceless by the voiceful sea, Thou hast not set thy thoughts to paltry tunes In song or sonnet. Them these golden noons Oppress not with their beauty; they could prate, Even while a prophet read the solemn runes On which is hanging some imperial fate. How know they, these good gossips, what to thee The ocean and its wanderers may have brought? How know they, in their busy vacancy, With what far aim thy spirit may be fraught? Or that thou dost not bow thee silently Before some great unutterable thought?
Alone it stands in Poesy’s fair land, A temple by the muses set apart; A perfect structure of consummate art, By artists builded and by genius planned. Beyond the reach of the apprentice hand, Beyond the ken of the unturtored heart, Like a fine carving in a common mart, Only the favored few will understand. A chef-d’oeuvre toiled over with great care, Yet which the unseeing careless crowd goes by, A plainly set, but well-cut solitaire, An ancient bit of pottery, too rare To please or hold aught save the special eye, These only with the sonnet can compare.
What are we first? First, animals; and next Intelligences at a leap; on whom Pale lies the distant shadow of the tomb, And all that draweth on the tomb for text. Into which state comes Love, the crowning sun: Beneath whose light the shadow loses form. We are the lords of life, and life is warm. Intelligence and instinct now are one. But nature says: "My children most they seem When they least know me: therefore I decree That they shall suffer." Swift doth young Love flee, And we stand wakened, shivering from our dream. Then if we study Nature we are wise. Thus do the few who live but with the day: The scientific animals are they—
The village life, and every care that reigns O'er youthful peasants and declining swains; What labour yields, and what, that labour past, Age, in its hour of languor, finds at last; What forms the real picture of the poor, Demands a song—the Muse can give no more. Fled are those times, if e'er such times were seen, When rustic poets praised their native green;
Scorn not the Sonnet; Critic, you have frowned, Mindless of its just honours; with this key Shakespeare unlocked his heart; the melody Of this small lute gave ease to Petrarch's wound; A thousand times this pipe did Tasso sound; With it Camöens soothed an exile's grief; The Sonnet glittered a gay myrtle leaf Amid the cypress with which Dante crowned His visionary brow: a glow-worm lamp, It cheered mild Spenser, called from Faery-land To struggle through dark ways; and, when a damp Fell round the path of Milton, in his hand The Thing became a trumpet; whence he blew Soul-animating strains—alas, too few!
A longish poem about wallpaper. A short lyric about discouragement in white. A medium-length thesis of uncertain importance. Another sonnet, about scholarship. A couplet of olives.
A long narrative about the exaggeration of your absence. Several quatrains about candle stubs. That old sestina on Isaiah. Palindromes about Scots presbyters of the 18th century. Some rock lyrics from Benares.
A nature poem about committees. Seven heroic couplets about Art Murphy. Several more heroic couplets on Murphy’s Law.
Happy Birthday Kenneth Koch/Feb 27 We went to all those places where they restore sadness and joy and call it art. We were piloted by Auden who became Unbearably acrimonious when we dropped off Senghor into the steamy skies of his beloved West Africa. The termites and ants
(As Distinguished by an Italian Person of Quality) Had I but plenty of money, money enough and to spare, The house for me, no doubt, were a house in the city-square;
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