Poets' Corner

To One Singing by Fernando Pessoa

The night my body makes of me were torn
Away from being, and my unbodied shape
Would, like a ship doubling the final cape,
Come to that sight of port and shiver of coming
That God allows to those whose bliss of roaming
Is no more than the wish to find His peace
And mingle with it as a scent with the breeze.

 

The Planet on the Table by Wallace Stevens

Ariel was glad he had written his poems.
They were of a remembered time
Or of something seen that he liked.

Other makings of the sun
Were waste and welter
And the ripe shrub writhed.

His self and the sun were one
And his poems, although makings of his self,
Were no less makings of the sun.

It was not important that they survive.
What mattered was that they should bear
Some lineament or character,

Some affluence, if only half-perceived,
In the poverty of their words,
Of the planet of which they were apart.

To start with, I'm not sure whether "Ariel" is an allusion to Shakespeare's The Tempest or possibly the Christian archangel, who I just found out about. Though considering Stevens was a non-believer and the poems focus on a connection with natural elements, the former seems more likely.

Overall, this piece seems a reflection on the nature of poetry and to an extent it's purpose, at least for the creator by emphasizing originality. I think it begins with a suggestion of how a poem captures something to be remembered, whatever that may be [an image, experience or thought.] Though by "Other makings of the sun . . . " is he saying that for every piece there is only 'one' way to write it, that art is as important as the sun, or something else entirely?

Certainly he's comparing the sun with the artist's self, with associations of power, beauty and brilliance, and that we shouldn't consider the latter any less than we would the former. Then, I feel, there's an interesting contrast between suggesting that whether the poems should "survive" is unimportant, yet they nonetheless should have the impression of their creator. Maybe not a question of literal survival only, but also whether they might in a collectively remembered sense. And that regardless, one's work should be distinctive and reflect the inner light and being of it's creator. Even if understanding the poem is not immediately apparent: "if only half-perceived, / In the poverty of their words"

 

I only know of Gibran by reputation and having seen his books from time-to-time, but I appreciate the tone of these spiritual poems that many early spiritual writings have as well as poets with Middle Eastern backgrounds. How they express things with limited, yet universal symbols and maintain balance with each phrasing. How did you come across him?

 

Is anyone familiar with some of the ancient Greco-Roman poets like Pindar, Horace, Ovid, etc.?

Right, and I understand the distinction between the two. Remember my stepfather had a copy of that book and enjoyed reading it, and some other poetry, occasionally.

Have you read Walt Whitman at all?

---------- Post added 15th Dec 2015 at 09:07 AM ----------

Do you write poetry alot?

---------- Post added 15th Dec 2015 at 09:11 AM ----------

Thank you for sharing this, unfortunately I haven't gotten to Milton, yet. One part which went over my head and which I don't know where to read about is "Purification in the old Law did save," what is that referring to?

 

That's what I find unusual about the poem, emphasizing death but not expressing it, in my opinion, an overwrought mournful way. Perhaps because the speaker focuses more on being, temporarily, reunited with his love.

I can't compare it with his other verse, yet, but there is a frenzy in it that I like. How familiar are you with Milton's verse?

---------- Post added 20th Dec 2015 at 12:05 PM ----------

How'd you become introduced to it and is there anyone's work you enjoy particularly?

 

Thank you for sharing!

Though I've had a tempestuous relationship with Shakespeare....(Crickets,) this along with the earlier Milton sonnet are fine examples of what I enjoy about some of the earlier English poets, particularly from this, rough, era. Passionate, yet introspective while bordering on being morbid and still life-affirming. Like how in this sonnet, he isn't simply comparing the addressee uncritically with nature, but picks apart the latter as to why the subject outshines, yet subtly implying their mortality all the same.

Sometimes Shakespeare's language eludes me, even for the time-period, but manages to convey just the right effect. The imagery, word choice, rhythm too natural to seem constructed, but carefully enough considered to neither be spontaneous.

Have you read any of his longer poems? I'm hoping to get around to them, some day, a friend of mine particularly loves Venus and Adonis.

 

Very glad to hear that, because I'd love to read more epic, book-length poems. Sometimes I think that most of supposedly difficult 'classic' literature is only so because of it's older forms of language or subject matter [in Milton's case, Biblical.] Much of the time, all we need to do is absorb the text and reflect on it a bit more.

Are there any other poets that you've enjoyed or have considered getting into?

---------- Post added 27th Dec 2015 at 08:28 AM ----------

I had a feeling... :eusa_doh: There's no particular place to start with reading, I feel, beyond what draws your interest. Personally, I enjoy reading about things so I've discovered a number of poets, poems and collections which I'm interested in simply through that.

However, if having more of a framework helps, there are all sorts of anthologies which cater to specific eras, subjects and forms of poetry in addition to a single writer's output. You can also ask people that are more familiar with poetry what sort they think you'd enjoy.

---------- Post added 27th Dec 2015 at 08:32 AM ----------

I quite like this, especially since I enjoy flowing lines. Do you write poetry alot?