Vixen's · Poetry · Corner

Over the past few days, I have been reading through The Four Quartets and it has occurred to me that it is a piece of great artistic merit, but not as ‘original’ as The Waste Land. In terms of clarification, I have always found The Waste Land to be a great marker of its time, as I noted in one of my previous postings. Even though the Quartets have also inspired me, I find them a little more staged. It is as if The Waste Land’s structure worked so well that Eliot decided that a longer version of it would be effective also.

From this point onwards, I would like to look at my most favourite section of Quartets. This part is from ‘Dry Salvages’. The first section particularly caught my eye, because it reminded me of the Ganges River, and it seems to be a good description of it:

I do not know much about gods; but I think that the river
Is a strong brown god—sullen, untamed and intractable,

The water references in this poem are quite frequent, as the reader is continuously drawn back to the water, to the life and death of mankind. In this section there are echoes of Matthew Arnold’s Dover Beach as well:

The sea is the land's edge also, the granite
Into which it reaches, the beaches where it tosses
Its hints of earlier and other creation:

This poem is a mosaic of many people’s thoughts and work, but as a cohesive unit. The connection with the water in this poem reminds the reader of the starting place. In particular, the sea is a place of eternity. It is not only one generation that experiences it, but every generation. The resonance of the words gives the feeling of being at sea, or on the shore, watching the waves. Each time a wave comes in, the story shifts to a different period in time, but the sea never changes.

The sea howl
And the sea yelp, are different voices
Often together heard: the whine in the rigging,
The menace and caress of wave that breaks on water,
The distant rote in the granite teeth,
And the wailing warning from the approaching headland
Are all sea voices, and the heaving groaner
Rounded homewards, and the seagull:
And under the oppression of the silent fog
The tolling bell
Measures time not our time, rung by the unhurried
Ground swell, a time
Older than the time of chronometers, older
Than time counted by anxious worried women
Lying awake, calculating the future,
Trying to unweave, unwind, unravel
And piece together the past and the future,
Between midnight and dawn, when the past is all deception,
The future futureless, before the morning watch
When time stops and time is never ending;
And the ground swell, that is and was from the beginning,
Clangs
The bell.

One watches the sea, waiting for it to bring in the fortunes of the people on it. This repetitive feeling of the ocean’s waves reminds me that this poem can represent anyone at any given point in time.

Current Mood:

contemplative

While reading this poem, it reminded me very much of  The Waste Land  in its overall appearance. Here again there is the five part structure, but this time it is a recurring pattern for the four sections. As in The Waste Land, there is so much to take out of the poem, that I had to stop many  times while reading it. This poem again is a haunting reminder of T.S. Eliot's poetic genius. 

Current Mood:

tired

After watching last week's film, I was reflecting on the correlation between The Waste Land and the whole Modernist age. At the time that this famous work was published, there were many significant changes in the world around. Art and literary people were finding the way to express the changes in the society, and reflect the dynamism in their own work. T. S. Eliot's writing of this particular poem demonstrates the jarring reverberations of the technological age around him.
The poem, in its original form did not have five sections, but four. However, the edited edition that we have today is as a result of Ezra Pound's editing job. Nonetheless, the five section format is still a disconcerting look at the world at that time. The title itself speaks volumes, because as you get into the poem, there is no sense of where or what time it is. We know that "April is the cruelest month" but right away this brings questions to mind: Why April? Why not some other point in time? There is also a feeling of the technology available in the era, which is also seen through the writing. The choppy mini-sections within each of the five parts sound as if someone was tuning a radio dial, and we are receiving one signal and then another, switching thoughts, places and even languages. 
Although these factors are somewhat disconcerting, we are aware that we are in the 'Waste Land' or the No-Man's land of the war years. I find it a particularly brilliant poem due to the fantastic juxtaposition of all of factors. When the reader is certain that they are in one comfortable area, or recognizable space, the poem switches into a place that is totally different from the last. 
Over the past few years, I have read The Waste Land several times, but I never fail to draw new meaning out of it. This last time reading it, I saw alchemical references in the section titles. Section I (The Burial of the Dead) references the earth element. Section II (A Game of Chess) suggests the fifth element (possibly the quintessence?). Section III (The Fire Sermon) references the fire element. Section IV (Death by Water) references the water element. Section V (What the Thunder Said) references the air element. Every section of the poem brings a new time and place to the reader, but the poem still works together well as a whole. 
As I am currently looking at this poem for another class, I will most likely have some more points to make shortly.

Current Mood:

chipper

I found the poem “The Buried Life” to be a source of inspiration and hope. This poem is in segments, but each part seems to be searching for the same conclusion. The ‘buried life’ seems to be something that we are all searching to express from within ourselves. In the first stanza, there seems to be a quest to understand the lover’s “inmost soul”, but it seems that there is no real way to understand this.

The second stanza again faces the same problem:

Alas! is even love too weak
To unlock the heart, and let it speak?
Are even lovers powerless to reveal
To one another what indeed they feel?

It seems to be impossible for people to properly express themselves to each other, even if the two people love one another. At this point there seems to be despondency faced by the world if even love cannot express the depths of a human’s feelings. As this part of the poem sounds desperate, the poem moves to hope that there may be an instant where the constraints will be released: 

Ah! well for us, if even we,
Even for a moment, can get free
Our heart, and have our lips unchain'd;
For that which seals them hath been deep-ordain'd!

If this actually happens, people will not feel like they are constrained within their own bodies. They can be spontaneous and express their souls explicitly without any limitations. Although this is rare, and may not happen to the greatest extent, it is a desire of every person:

But often, in the world's most crowded streets,
But often, in the din of strife,
There rises an unspeakable desire
After the knowledge of our buried life;
A thirst to spend our fire and restless force
In tracking out our true, original course;                        
A longing to inquire
Into the mystery of this heart which beats
So wild, so deep in us--to know
Whence our lives come and where they go.

The ‘buried life’ is the life that we each learn to live, and to understand. This would be the true extent of ‘knowing thyself’, which was the quest of the Gnostics. We all try to understand ourselves, and if we find the answer, we will understand all of humanity.

The poem sets out to hope that there is a possibility of one day comprehending all things about life. We should be inspired to love and to reach for the understanding of one another.

Current Mood:

contemplative

Looking at it now, with a few more years of education behind me, I see distinctive elements that I never saw before. Now I see that it is not only a conversation of the persona and (his/her) love, but also a story about the cycles of life.

As decades and even centuries pass, the sea witnesses life over and over again. Each generation sees the troubles of the world, but every generation also leaves it. When I read "Dover Beach" now, I see that the cycles of life repeat themselves, but only the ocean remains constant. No matter the century or decade it is, the sea remains the same and does not change its story.

Current Mood:

sleepy

[…] But criticism, real criticism, is essentially the exercise of this very quality; it obeys an instinct prompting it to try to know the best that is known and thought in the world, irrespectively of practice, politics, and everything of the kind; and to value knowledge and thought as they approach this best, without the intrusion of any other considerations whatever. (17)

His chief concern is to reach the core of criticism, and excluding all other factors, he holds knowledge as the most important point. He feels that ‘critics’ have spent too much time getting bogged down by other factors (i.e. politics) instead of focusing on the material they should be critiquing.
As Arnold’s discourse continues he seems to be very critical on almost every style of writing that he encounters. The biggest problem I have with his writing his over-zealous quest for perfection: “By no means; but to be perpetually dissatisfied with these works, while they perpetually fall short of a high and perfect ideal.” (33)
Although some people seem to disagree with Arnold’s regimented approach to understanding poetry, there is a key point to remember. Even though we may not understand the exact time period/context he was writing in, his analyses are still relevant today. If they were not still considered worthwhile, it would be unlikely that we would be studying them at a university level.

Current Mood:

indescribable

In this transitional week between Wordsworth and Arnold, I found the essay The Study of Poetry a useful tool and guide for navigation through poetry. Compared to some of the previous assigned readings (of the prose nature), this one was by far the easiest read. Although Arnold, like the writers before him, has his own particular slant on poetry, his discourse is more focused in exploring the history.

Arnold begins with a selection of poetry which he deems have “the possession of the very highest poetical quality.” I found it quite interesting to note the range of poetry considered by Arnold. Arnold does not solely focus on English poems, but rather on ones which he considers worthy of high praise. Arnold’s bias seems to lie with the older, or as he deems it, ‘more fluid’ style of writing. This was quite apparent with his comparison between Chaucer and Wordsworth. While Arnold finds Chaucer’s writing fairly good he does not consider him one of the best poets. Instead he moves on quite quickly to examine one of the more ‘classical’ poets, namely Dante.

From my understanding, it seems as though Arnold is most concerned with the ancient ‘seriousness’ as seen in poetry by the Greeks. He does not deny that the general populace sees beauty in eighteenth century poetry, but he has personal doubts if they should be considered ‘classic.’

Towards the end of his discourse, he discounts the modern ‘common’ readers of poetry. He sees that poetry has become a source of a “profitable industry,” but nonetheless states that good poetry will never lose value. ‘Classic’ poetry will maintain its “supremacy” because of its ability to stand up to the test of time.

Current Mood:

drained

Over the break, I have been working through the various Wordsworth poems and was wondering what to write on. Each poem has something quite fascinating to offer, and I have been unsure of where to start.

Each of these poems have a life of their own, and the particular one that I liked was ‘A slumber did my spirit seal’. This particular poem was one of the shorter ones, but I found full of many crucial points.

The poem itself is about slumber, but moreover about the idea of death. It is very brief, only 8 lines long, but still manages to encapsulate how death touches people. The poem lulls the reader into a slumber-like state as it each line rolls of the one before it.

Happy Holidays everyone!

Current Mood:

artistic

Well, here I am in the midst of November, swamped as usual with essays (3), a midterm, and a presentation. These are all, of course due, within the next three weeks. On a positive note, the presentation is nearly done, and one of the three essays is complete, one whole week ahead of schedule. So far so good!

Anyhow, as for posting this week, I have not honestly had much time to do much reading for this class. However, I wanted again to make a commentary on the character constructions in All For Love. This week, I was particularly intrigued by the character of Antony. Shakespeare constructs Antony as a noble character, whose allegiance to his country is far more important than that of his allegiance to his lover, Cleopatra. Although he does care about her, Shakespeare's Antony seems quite willing to leave Cleopatra in an expedited fashion. Conversely, in Dryden's portrayal of Antony, the character seems more hesitant to leave the side of Cleopatra. Even though he makes the same choice as in Shakespeare's rendition (country above love), he seems more remorseful for the choice he has to make. Between the two versions, I cannot decide which portrayal of Antony I like better. Both have aspects that I like and dislike, at the same time.

Good luck on all the assignments everyone, and don't forget to get some sleep!

Current Mood:

mellow

After revisiting this text, and seeing a comment on my last post, I decided to write something about Shakespeare’s Antony and Cleopatra versus Dryden’s All For Love. Based on my readings of both texts, I definitely think that Dryden’s character portrayal is more impressive. While Shakespeare develops a politicized plot, Dryden focuses on the love affair between Antony and Cleopatra.

            Shakespeare’s character portrayal was appropriate in his time period and I do not discount that fact. However, in my opinion, Dryden pays more attention to the relationship of the characters. Even the title encapsulates what the story contains. Every action made by Antony and Cleopatra is about love. Antony gives up the love of Cleopatra for the love of his country. By the time he returns to his love, it is too late for both of them. Cleopatra, based on Antony’s death takes her own life to join him. Both of these characters reminded me more of the story in Romeo and Juliet. The prologue of that play states:

 […] From forth the fatal loins of these two foes

A pair of star-cross’d lovers take their life;

Whose misadventur’d piteous overthrows

Doth with their death bury their parents’ strife.

The fearful passage of their death-mark’d love […]

                                                            (Prologue ll. 5-9)

The last lines of Romeo and Juliet are also similar to All For Love:

A glooming peace this morning with it brings,

The sun, for sorrow, will not show his head.

Go hence to have more talk of these sad things;

Some shall be pardon’d, and some punished:

For never was a story of more woe

Than this of Juliet and her Romeo.

                                                            (V.iii.305-310)

The last lines spoken in All For Love are as follows:

See how the lovers sit in state together,

As they were giving laws to half mankind!

The impression of a smile, left in her face,

Shows she died pleased with him for whom she lived,

And went to charm him in another world.

Caesar’s just entering: grief has no leisure,

Secure that villain, as our pledge of safety,

To grace the imperial triumph.— Sleep, blest pair,

Secure from human chance, long ages out,

While all storms of fate fly o’er your tomb;

And Fame too late posterity shall tell

No lovers lived so great, or died so well.

                                                            (ll. 505-516)

Through these lines, I saw the similarities between the love plots. Through this I felt that Dryden most connected his play with a love story as seen in Romeo and Juliet.

Current Mood:

content

After reading Shakespeare's Antony and Cleopatra a few years ago, it was suggested to me that I should read Dryden's All For Love as well. I did enjoy Shakespeare's version, but in the long run I became more enamoured with Dryden's version of the story.

When I first started this LiveJournal back in April, some of my first few posts were drawn from All For Love. Shortly before that point, I had been handed a copy of the play, which I read and had thoroughly enjoyed.

Each playwright used different methods to bring the characters to life. However, I found that Dryden's portrayal of the characters was more realistic. There were many instances of life-like behaviour, but Cleopatra's discourse with Antony before his departure particularly touched me. Cleopatra pleads with Antony: 

How shall I plead my cause, when you, my
judge,
Already have condemned me? Shall I bring
The love you bore me for my advocate?
That now is turned against me, that destroys me;
For love, once past, is, at the best, forgotten;
But oftener sours to hate: 'twill please my lord
To ruin me, and therfore I'll be guilty.
But, could I once have thought it would have pleased you,
That you would pry, with narrow searching eyes,
Into my faults, severe to my destruction,
And watching all advantages with care,
That serve to make me wretched? Speak, my lord,
For I end here. Though I deserved this usage,
Was it like you to give it?

Current Mood:

mellow

I must confess that with my first reading of An Essay on Dramatic Poesy, I did not like it that much. I found it verbose and quite tedious. However, after class this week, I have a new appreciation for the text.

With my first reading, I was approaching the text as solely that, a text. I realize now that is the reason I did not like it. Even though this is a critical discourse on dramatic texts, it is also a performance piece. Once it was pointed out by Prof. Kuin that Dryden creates an imaginary debate between four men, I became immediately more interested in the work. Instead of reading it introspectively, I have now started reading it out loud. Since I started re-reading the text in this manner, I am thoroughly enjoying it. Right now I do not have too much more to say on the essay until I finish it again. Thanks Prof. Kuin for bringing this text to life!

Current Mood:

enthralled

Works Cited
Koss, Richard. Ed. Aristotle: Poetics Mineola: Dover Publications, Inc. 1997.

Miner, Earl. Ed. Selected Poetry and Prose of John Dryden New York: McGraw-Hill Inc. 1985.

Current Mood:

good

As an encompassing feature, I noted that Sidney, as in Defense of Poesy, hearkened back to many of the mythological writers. Personally, this made things easier for my own understanding. I noted that when Sidney was pointing out the universal concepts: Reason, Virtue, Love, Nature etc., he would first italicize these words, and then spend an entire sonnet linking these to mythological characters and their stories.

The series of sonnets take the reader through different aspects of life; Love as a living entity, and then with its absence, how sleep (death) takes over. I found that the transition between the sonnets was seamless, but each sonnet was intertwined with the one before and after it.

Towards the end the sonnets, there is a unique shifting between ‘songs’ and the recognized sonnets. The interplay here is fascinating. With this part Astrophil and Stella, it reminded me of a religious service. The sonnets read as the sermonette/sermon (focusing on the main points of the message) and the songs were like hymns of praise (emphasizing the reverential nature of love).

Now perhaps my explanations only make sense to me, but please, those of you who are reading this, give me some feedback?

As my edition is in the Everyman version, I first noticed something which does not appear in some other editions. In my version of the text, words are often italicized and I will indicate which ones are in my discourse. For example, in the first line, Sidney italicizes: Phoebus (son of Phoebe); Jove (Zeus); Mars (Ares); and Love (Aphrodite?). Furthermore, Ganimed (Zeus’ cup-bearer), Venus (Aphrodite/Love), Cupid (messenger of Love), and Stella are italicized as well.

At first I was pondering why Sidney had marked these figures in italicized text. However, the reason for this seemed to be that these were the most prominent figures, or they were Sidney’s reincarnation of mythology. This particular sonnet reiterates the mythological battle between these characters. I also noted how many references there were to light (Phoebus, which means shining/radiant light) (line 1); Jove’s golden shield (l. 3); Mars’ golden speare (l. 5); and Stella’s faire haire (l. 10). Each of these references culminates at line 12: “Phoebus drew wide the curtains of the skies” which suggested the dawning of rationality, or a solution to the battle.

I know that I have not examined every nuance of this one sonnet, nor do I think I could ever fully manage this. However, I find it interesting that Sidney was a clever writer, as he managed to draw elements of the past and synthesized them flawlessly into his own work.