Richibi’s Weblog

Just another WordPress.com weblog

Category: a poem to ponder

“A Visit from St. Nicholas” – Clement Clarke Moore / Henry Livingston, Jr.

                                        
                 Christmas Trio - Norman Rockwell
 
 
                                                             “Christmas Trio
 
                                                             Norman Rockwell
 
                                                                 _____________
 
 
 
‘Twas the night before Christmas, when all thro’ the house
Not a creature was stirring, not even a mouse;
The stockings were hung by the chimney with care,
In hopes that St. Nicholas soon would be there;
The children were nestled all snug in their beds,
While visions of sugar plums danc’d in their heads,
And Mama in her ‘kerchief, and I in my cap,
Had just settled our brains for a long winter’s nap —
When out on the lawn there arose such a clatter,
I sprang from the bed to see what was the matter.
Away to the window I flew like a flash,
Tore open the shutters, and threw up the sash.
The moon on the breast of the new fallen snow,
Gave the luster of mid-day to objects below;
When, what to my wondering eyes should appear,
But a miniature sleigh, and eight tiny reindeer,
With a little old driver, so lively and quick,
I knew in a moment it must be St. Nick.
More rapid than eagles his coursers they came,
And he whistled, and shouted, and call’d them by name:
“Now! Dasher, now! Dancer, now! Prancer and Vixen,
“On! Comet, on! Cupid, on! Donder and Blitzen;
“To the top of the porch! To the top of the wall!
“Now dash away! Dash away! Dash away all!”
As dry leaves that before the wild hurricane fly,
When they meet with an obstacle, mount to the sky;
So up to the house-top the coursers they flew,
With the sleigh full of toys — and St. Nicholas too:
And then in a twinkling, I heard on the roof
The prancing and pawing of each little hoof.
As I drew in my head, and was turning around,
Down the chimney St. Nicholas came with a bound:
He was dress’d all in fur, from his head to his foot,
And his clothes were all tarnish’d with ashes and soot;
A bundle of toys was flung on his back,
And he look’d like a peddler just opening his pack:
His eyes — how they twinkled! His dimples: how merry,
His cheeks were like roses, his nose like a cherry;
His droll little mouth was drawn up like a bow,
And the beard of his chin was as white as the snow;
The stump of a pipe he held tight in his teeth,
And the smoke it encircled his head like a wreath.
He had a broad face, and a little round belly
That shook when he laugh’d, like a bowl full of jelly:
He was chubby and plump, a right jolly old elf,
And I laugh’d when I saw him in spite of myself;
A wink of his eye and a twist of his head
Soon gave me to know I had nothing to dread.
He spoke not a word, but went straight to his work,
And fill’d all the stockings; then turn’d with a jerk,
And laying his finger aside of his nose
And giving a nod, up the chimney he rose.
He sprung to his sleigh, to his team gave a whistle,
And away they all flew, like the down of a thistle:
But I heard him exclaim, ere he drove out of sight —
Happy Christmas to all, and to all a good night.

how to read a poem – “Alchemy” – Stephen Sandy‏

     

when I looked up “philodendron” in the dictionary,
it said it was an “arum” with a particular “foliage”,
I thought what kind of a dictionary is that, then
found out “arum” was a flower whose leaves have 
a particular shape, of a heart or a sword, but didn’t
take that conjunction further than to cock a wry eye
and wonder, briefly, heart or sword, that’s some
conjunction
 
we are inches away from being a philodendron, it
would appear, purportedly a “single atom” 
 
 
let me relate that when I worried about my position
in the universe, existentially, aesthetically, morally,
thinking that being no more, but also no less, than a
flower, really helped, was indeed the only thing that
helped, I didn’t want to imagine a world without
flowers, and I was a part of that 
 
 
Richard
 
            _____________________________
 
 
from the New Yorker, November 5, 2012
 
 
Alchemy
 
Chlorophyll C55H72N4O5Mg
differs from human blood
only by substitution of one
atom of magnesium
in philodendron
for the single atom of iron
in Keats.
 
 
                    Stephen Sandy 

 
 
 
 
 
 
 
 
 
 
 
 

XXlX. I think of thee! – my thoughts do twine and bud – Elizabeth Barrett Browning‏

from Sonnets from the Portuguese

XXlX. I think of thee! – my thoughts do twine and bud

I think of thee! – my thoughts do twine and bud
About thee, as wild vines, about a tree,
Put out broad leaves, and soon there’s nought to see
Except the straggling green which hides the wood.
Yet, O my palm-tree, be it understood
I will not have my thoughts instead of thee
Who art dearer, better! rather, instantly
Renew thy presence. As a strong tree should,
Rustle thy boughs and set thy trunk all bare,
And let these bands of greenery which insphere thee
Drop heavily down, – burst, shattered, everywhere!
Because, in this deep joy to see and hear thee
And breathe within thy shadow a new air,
I do not think of thee – I am too near thee

Elizabeth Barrett Browning

_____________________

“set thy trunk all bare” indeed, Elizabeth is
letting more than just her hair down here, she
is “twin[ing] and bud[ding] / About thee”, she
is, ahem, “hid[ing] the wood” of her “strong
tree”,
her “palm-tree”, her abandon is letting
her “wild vines” engulf him, “I do not think of
thee – I am too near thee”,
she exults, she is
“breath[ing] within thy shadow a new air”

this is of course communion of the very
highest order, transubstantiation,
metamorphosis, and she is here its
highest priestess

all, note, in ever rhyming, ever thumping,
iambic pentameter, enough to make you
blush

Richard

XXVlll. My letters! all dead paper, mute and white – Elizabeth Barrett Browning‏

from Sonnets from the Portuguese

XXVlll. My letters! all dead paper, mute and white

My letters! all dead paper, mute and white!
And yet they seem alive and quivering
Against my tremulous hands which loose the string
And let them drop down on my knee to-night,
This said, — he wished to have me in his sight
Once, as a friend: this fixed a day in spring
To come and touch my hand . . . a simple thing,
Yet I wept for it! — this, . . . the paper’s light. . .
Said, Dear, I love thee; and I sank and quailed
As if God’s future thundered on my past.
This said, I am thine — and so its ink has paled
With lying at my heart that beat too fast.
And this . . . O Love, thy words have ill availed
If, what this said, I dared repeat at last!

Elizabeth Barrett Browning

______________________

after a meticulous search of my archive, I
finally found the last place I’d been wrong,
if you remember well I’d written the date so
it could be found at any moment, just like
this one, March 28, 2012, check it out

if I’ve chosen to preface my comment on
Barrett Browning‘s 28th sonnet from
the Portuguese
with a personal
exculpation it’s because here I so easily
could be incorrect, Elizabeth is to my mind
here too abstruse, obtuse, too cute, I think,
for her own convoluted words

who is doing what to whom in this flurry
of what was “said”, we wonder

she is speaking to the paper – “dead”,
“mute and white”, note – which says what
had been said by her then improbable lover,
that he wished to see her, “to have me in his
sight “,
that he loves her, “Dear, I love thee”,
that he’s hers, “I am thine”, but what is this
insuperable “thy words have ill availed / If,
what this said, I dared repeat at last

an analysis that will not cede the secrets
of a text after a certain moment by a
reasonably informed and probing
analyst is no longer a shortcoming of the
analyst but of the poem, I submit, and
such, I feel, is here the case, though that
position is entirely assailable, I might be
merely, in this instance, stupid, but I
doubt it

the Metaphysical Poets were good at that,
establishing confounding parallels, Donne,
Herbert, Marvell, revered poets Elizabeth
surely would have aspired to mimic

“Love”, I’ll propose, in line 14, is a
composite of Love itself – Amor, a Platonic,
anthropomorphized conception – and
Robert Browning, who had become by this
time her spouse, to whom these recollections
are indirectly directed – remember she’s still
speaking to the paper – who utters this Delphic,
which is to say, inscrutable, pronouncement

then again it could be herself, Elizabeth,
hypothesizing, for she hasn’t italicized this
statement as she has earlier the others

therefore she could be – instead of he, they,
invoking her – invoking them, though “And
this”
in the second last line suggests that
he, Robert Browning, is speaking again,
and yet the “L” is capitalized this time
where it hadn’t been for Robert anywhere
before

help

I will venture, for the sake of conclusion,
that she means that had these been the
last expressions of his devotion, or he,
does she mean, of hers, these letters
would indeed be also dead

but I could be entirely wrong

November 14, 2012

Richard

XXVll. My own Belovèd, who hast lifted me – Elizabeth Barrett Browning‏

from Sonnets from the Portuguese

XXVll. My own Belovèd, who hast lifted me

My own Belovèd, who hast lifted me
From this drear flat of earth where I was thrown,
And, in betwixt the languid ringlets, blown
A life-breath, till the forehead hopefully
Shines out again, as all the angels see,
Before thy saving kiss! My own, my own,
Who camest to me when the world was gone,
And I who looked for only God, found thee!
I find thee; I am safe, and strong, and glad.
As one who stands in dewless asphodel
Looks backward on the tedious time he had
In the upper life,–so I, with bosom-swell,
Make witness, here, between the good and bad,
That Love, as strong as Death, retrieves as well.

Elizabeth Barrett Browning

_______________________

the Asphodel Meadows were a mythological
nether field where souls wandered aimless
after death, bereft of their earthly memories,
washed away by the river Lethe they’d had
to cross to enter the Underworld, can you
dig it

very few have returned from There, notably
Eurydice, who, profoundly grieved by
Orpheus, her swain, is granted leave to
come back by the god of the Underworld,
Hades, as a grace for Orpheus’ uncanny,
uneartlhy, musical ability, though with one
dire condition, that he, Orpheus, Lot-like,
not look back, but that’s an entire other story

love however is what has resurrected her here,
according to Elizabeth Barrett Browning,
afforded her another, transformed, life, she
states

for transcendental apparently love, not only
ineluctable death, according to her earlier
staunch expectations, had proved able to
stir her from her earlier in-, or “asphodel”,
as she calls it, existence

as love does

Richard

“The Carnival of the Animals” – Saint-Saëns/Nash/Disney

in the same spirit of “music as literature” as in
Liszt’s Années de pèlerinage“, or Mussorgsky‘s
Pictures at an Exhibition especially, Camille
Saint-Saëns, composed his Le carnaval des
through an anthropomorphised menagerie 
where the description is impressionistic rather
than narrative, which is to say more painterly
 
he composes in patches of musical textures
instead of melodic and linear paragraphs,
incompatible with the original association
of music as melody, or song, one’s response
would become thereby more intellectual
than emotional, one does not swoon, or
even sway, in other words, as marvel at the
synesthetic imagination, which lets you see
sounds and hear pictures
 
you’ll hear here, or “hear, hear”, the turtles
doing their determined interpretation of the 
can-can, at an improbable crawl, in playful
reference to Offenbach‘s “Galop infernal”,
mad gallop, from his Orpheus in the  
Underworld, other such instances of 
compositional salutations follow, not at
all an unusual practice among composers,
great and small 
 
you’ll be enchanted by the shimmering
ethereality of the aquarium, by the grace
and majesty of the now mythic swan,
among other zoological bedazzlements, 
in 14 movements, in therefore essentially
a symphony, a piece for orchestra with
several movements
 
here they are        
I.      Introduction et marche royale du Lion
               (Introduction and Royal March of the Lion)
II.     Poules et Coqs 
               (Hens and Cocks)
III.    Hémiones (animaux véloces) 
               (Wild Asses)
IV.   Tortues
                (Tortoises)
V.     L’Éléphant 
                (The Elephant)
VI.    Kangourous 
                (Kangaroos)
VII.   Aquarium
VIII.  Personnages à longues oreilles
                (Personages with Long Ears)
IX.    Le coucou au fond des bois 
                (The Cuckoo in the Depths of the Woods)
X.     Volière
                (Aviary)
XI.    Pianistes
                (Pianists)
XII.   Fossiles
                (Fossils)
XIII.  Le Cygne
                (The Swan)
XIV.  Finale
 
 
you’ll want to read the poems that Ogden 
Nash later wrote about them, his very own
Carnival of the Animals“, that now often
accompany the piece, a mistake, I find, for
exposing two entirely idiosyncratic and 
incompatible sensibilities opposite each
other, thereby taking away from each 
 
but Walt Disney has, and you will too have,
a great deal of fun nevertheless with both
of them, though they’re somewhat in his
version abridged, no swan 
 
 
Richard
 
 
 
 

happy hallowe’en

                                                                                                                                                        just in time a brew to invigorate the season,
courtesy of Shakespeare 
 
 
Richard
 
                _________________   

 

               (from “Macbeth”, act IV, scene 1)

                                                                                                                                                              

Round about the cauldron go;
In the poison’d entrails throw.
Toad, that under cold stone
Days and nights hast thirty one
Swelter’d venom sleeping got,
Boil thou first i’ the charmed pot. 

           Double, double toil and trouble; 
           Fire burn and cauldron bubble.  
                                                                                                                                               Fillet of a fenny snake,
In the cauldron boil and bake;
Eye of newt, and toe of frog,
Wool of bat, and tongue of dog,
Adder’s fork, and blind-worm’s sting,
Lizard’s leg, and howlet’s wing,
For a charm of powerful trouble,
Like a hell-broth boil and bubble.

           Double, double toil and trouble; 
           Fire burn and cauldron bubble.

Scale of dragon, tooth of wolf,
Witches’ mummy, maw and gulf
Of the ravin’d salt-sea shark,
Root of hemlock digg’d i’ the dark,
Liver of blaspheming Jew,
Gall of goat, and slips of yew
Sliver’d in the moon’s eclipse,
Nose of Turk, and Tartar’s lips,
Finger of birth-strangled babe
Ditch-deliver’d by a drab,
Make the gruel thick and slab:
Add thereto a tiger’s chaudron,
For the ingredients of our cauldron.

            Double, double toil and trouble;
            Fire burn and cauldron bubble

 

                                  William Shakespeare

 

 

                        

“Song of the South”‏ – Walt Disney

it’s been over fifty years since I’ve seen this movie,
never thought I’d see it again but now for the magic
of the Internet, the boundless trove of irreducible
treasures, like those in Ali-Baba’s caves, or the
attics of our ancestors, stowed away, open again
to our poetic or otherwise imaginations, at our
very fingertips
 
I remembered this movie to be wonderful, moving,
but not much else, except for the Zip-A-Dee-Doo-
Dah” theme, which is unforgettable, and a single
plot twist it would be unchivalrous to divulge 
 
it has apparently been controversial, and is
presently banned, it would appear, in cinemas,
but it would be to my mind as racially insensitive
as “Huckleberry Finn”, “Tom Sawyer’, or even
“Gone with the Wind” have been, when they
were patently giving voice rather to a shocking
human cultural, and political, abomination, 
however awkwardly, that is still powerfully,
shamefully, even manifestly, resonant
 
this is not a universal, note, condition, every
season for any culture has its bugbears, its
demons and monsters, and woe to the
unfortunate and inadvertent victim 
 
 
in perhaps his most wonderful movie, and there
were quite a few, Song of the South“, Walt Disney 
lets us know that we’re all in this together, and
that kindness meets kindness in everyone, when
you open your heart 
 
and that the reverse is horrible 
 
 
Walt Disney is of course one of the great cultural
influences of the 20th Century, dismissed among
the titans as merely for kids
 
Walt Disney will be for an entire generation the
place where we learned our moral ABCs, much
more than in the dire Bible
 
as such he’s no less significant an artist, not at
all less significant, than Monet, Picasso, for
instance, Beethoven, Shakespeare, in shaping
our present moral and aesthetic world 
 
 
you’ll need some Kleenex 
 
 
you can also sing along 
 
 
Richard 
 
psst: filmed, I’m sure, right here in beautiful Stanley
         Park behind my place in Vancouver, even the
         animated portions    
 
 
 

XXVl. I lived with visions for my company – Elizabeth Barrett Browning

from Sonnets from the Portuguese

XXVl. I lived with visions for my company

I lived with visions for my company
Instead of men and women, years ago,
And found them gentle mates, nor thought to know
A sweeter music than they played to me.
But soon their trailing purple was not free
Of this world’s dust, their lutes did silent grow,
And I myself grew faint and blind below
Their vanishing eyes. Then THOU didst come–to be,
Belovèd, what they seemed. Their shining fronts,
Their songs, their splendours (better, yet the same,
As river-water hallowed into fonts),
Met in thee, and from out thee overcame
My soul with satisfaction of all wants
Because God’s gifts put man’s best dreams to shame.

Elizabeth Barrett Browning

_____________________

compare Joyce Kilmer‘s

“Poems are made by fools like me,
But only God can make a tree.”

from Kilmer‘s Trees“, where Elizabeth Barrett Browning
in her poem has of course a much more Romantic view
of things nearly a century earlier, and where the source
of her telling light is rather the much more human
Robert Browning

a fair match, I first wondered, Browning or a tree

then thought, what do I now mean, a good one
and two respective centuries later, by God, the
genesis of all this inscrutable incontrovertible
horn of bounteous and wondrous plenty

I am of course still wondering, despite even the
Sisyphean exponentiality of those wonders

in the end I believe a tree is no less the equal
of a Robert Browning, as proof of the divine

about the divine itself however I’ll reserve
judgment, though my own personal experience
of miracles has made me believe in at least the
ineffably miraculous, the immanence ever of a
mystical, multidimensional order – “There are
more things in heaven and earth, Horatio, /
Than are dreamt of in your philosophy.”

maybe therefore of the divine

but this could easily be just ultimately empty
semantics

so presently I cede

interesting that the question was even popping
up however, finally, after centuries of obligatory
Christian, and obfuscating, dogma, a personal
quest, rather than adherence by ecclesiastical
ordinance, for a proof of God

Richard

XXV. A heavy heart, Belovèd, have I borne – Elizabeth Barrett Browning‏

from Sonnets from the Portuguese

XXV. A heavy heart, Belovèd, have I borne

A heavy heart, Belovèd, have I borne
From year to year until I saw thy face,
And sorrow after sorrow took the place
Of all those natural joys as lightly worn
As the stringed pearls, each lifted in its turn
By a beating heart at dance-time. Hopes apace
Were changed to long despairs, till God’s own grace
Could scarcely lift above the world forlorn
My heavy heart. Then thou didst bid me bring
And let it drop adown thy calmly great
Deep being! Fast it sinketh, as a thing
Which its own nature doth precipitate,
While thine doth close above it, mediating
Betwixt the stars and the unaccomplished fate.

Elizabeth Barrett Browning

__________________

despite a rigorous rhyme scheme and a mostly
strict iambic pentameter here, which is to say
each verse is given five, or penta, metres, or
beats, where iambic means that the accent is
on the second syllable of each of those five
individual metres, ta-da, ta-da, ta-da times
five, should your Greek be understandably
amiss, Elizabeth still manages to skew the
pace of the piece again in this instance,
turning her poetry, as always, into a more
direct and purposeful prose

just try to follow the sentence metrically as
in a more traditional poem, or song, you’ll
block her headlong and unfettered propulsion

alteration of the beat is not much different
from what composers were doing then with
music, the early eighteen-hundreds, not much
different indeed at all, and which they did for
the very same particular reason, greater
authenticity, the truth part of the iconic
imperatives of beauty and truth

incidentally, where Elizabeth was trying to
invigorate poetry by giving it the apparent
immediacy of prose you might’ve noted
that in my own flurry of literary tidbits,
however ever so humble, I’ve been quite
consciously peppering prose rather with
the elements of poetry, for better or for
worse, but in my mind to reflect a less,
dare I say, prosaic, more inherently
enchanting, vision of the world

Richard