Tag Archives: Pinsky

Arts and Letters, Literature

MondayPoem: The Lie

[div class=attrib]By Robert Pinsky for Slate:[end-div]

Denunciation abounds, in its many forms: snark (was that word invented or fostered in a poem, Lewis Carroll’s “The Hunting of the Snark“?), ranking-out, calling-out, bringing-down, blowing-up, flaming, scorching, trashing, negative campaigning, skepticism, exposure, nailing, shafting, finishing, diminishing, down-blogging. Aggressive moral denunciation—performed with varying degrees of justice and skill in life, in print, on the Web, in politics, on television and radio, in book-reviewing, in sports, in courtrooms and committee meetings—generates dismay and glee in its audience. Sometimes, for many of us, dismay and glee simultaneously, in an uneasy combination.

A basic form of denunciation is indicated by the slightly archaic but useful expression giving the lie.

No one has ever given the lie more memorably, explicitly, and universally than Sir Walter Raleigh (1552-1618) in “The Lie.” The poem, among other things, demonstrates the power of repetition and refrain. The power, too, of plain rather than fancy or arcane words—for example, blabbing.

I remember being enchanted—a bit excessively, I now think—when I first read “The Lie” by a single wonderful image early on: “Say to the court it glows/ And shines like rotten wood.” The mental picture of an opalescent, greenish glow on a moldy softwood plank—that phosphorescent decay—knocked me out (to use an expression from those student days). It was a period when images were highly prized, and my teachers encouraged me to prize images, the deeper the better. Well, though I may have been unreflectingly guided by fashion, at least I had the brains to appreciate this great image of Raleigh’s.

But now that superb rotten wood feels like an incidental or ancillary beauty to me, one moment in a larger force. What propels this poem is not its images but its masterful breaking down of an idea into social and moral components: the brilliant, considered division into hammer-blows of example and refrain while the pace and content vary around that central pulse. “Driving home the point” could not have a more apt demonstration.

Raleigh’s manic, extended thoroughness; his resourceful rhyming; his relentless, wide gaze that takes in love and zeal, wit and wisdom, and, ultimately, also includes his own soul’s “blabbing”—this is form as audible conviction: conviction of a degree and kind attainable only by a poem.

“The Lie”

Go, soul, the body’s guest,
….Upon a thankless arrant;
Fear not to touch the best;
….The truth shall be thy warrant:
….….Go, since I needs must die,
….….And give the world the lie.

Say to the court it glows
….And shines like rotten wood,
Say to the church it shows
….What’s good, and doth no good:
….….If church and court reply,
….….Then give them both the lie.

Tell potentates, they live
….Acting, by others’ action;
Not lov’d unless they give;
….Not strong, but by affection.
….….If potentates reply,
….….Give potentates the lie.

Tell men of high condition,
….That manage the estate,
Their purpose is ambition;
….Their practice only hate.
….….And if they once reply,
….….Then give them all the lie.

Tell them that brave it most,
….They beg for more by spending,
Who in their greatest cost
….Like nothing but commending.
….….And if they make reply,
….….Then give them all the lie.

Tell zeal it wants devotion;
….Tell love it is but lust;
Tell time it meets but motion;
….Tell flesh it is but dust:
….….And wish them not reply,
….….For thou must give the lie.

Tell age it daily wasteth;
….Tell honour how it alters;
Tell beauty how she blasteth;
….Tell favour how it falters:
….….And as they shall reply,
….….Give every one the lie.

Tell wit how much it wrangles
….In tickle points of niceness;
Tell wisdom she entangles
….Herself in over-wiseness:
….….And when they do reply,
….….Straight give them both the lie.

Tell physic of her boldness;
….Tell skill it is prevention;
Tell charity of coldness;
….Tell law it is contention:
….….And as they do reply,
….….So give them still the lie.

Tell fortune of her blindness;
….Tell nature of decay;
Tell friendship of unkindness;
….Tell justice of delay:
….….And if they will reply,
….….Then give them all the lie.

Tell arts they have no soundness,
….But vary by esteeming;
Tell schools they want profoundness,
….And stand too much on seeming.
….….If arts and schools reply,
….….Give arts and schools the lie.

Tell faith it’s fled the city;
….Tell how the country erreth;
Tell manhood, shakes off pity;
….Tell virtue, least preferreth.
….….And if they do reply,
….….Spare not to give the lie.

So when thou hast, as I
….Commanded thee, done blabbing;
Because to give the lie
….Deserves no less than stabbing:
….….Stab at thee, he that will,
….….No stab thy soul can kill!

—Sir Walter Raleigh

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Arts and Letters, Literature

MondayPoem: The Chimney Sweeper

[div class=attrib]By Robert Pinsky for Slate:[end-div]

Here is a pair of poems more familiar than many I’ve presented here in the monthly “Classic Poem” feature—familiar, maybe, yet with an unsettling quality that seems inexhaustible. As in much of William Blake’s writing, what I may think I know, he manages to make me wonder if I really do know.

“Blake’s poetry has the unpleasantness of great poetry,” says T.S. Eliot (who has a way of parodying himself even while making wise observations). The truth in Eliot’s remark, for me, has to do not simply with Blake’s indictment of conventional churches, governments, artists but with his general, metaphysical defiance toward customary ways of understanding the universe.

The “unpleasantness of great poetry,” as exemplified by Blake, is rooted in a seductively beautiful process of unbalancing and disrupting. Great poetry gives us elaborately attractive constructions of architecture or music or landscape—while preventing us from settling comfortably into this new and engaging structure, cadence, or terrain. In his Songs of Innocence and Experience, Shewing the Two Contrary States of the Human Soul, Blake achieves a binary, deceptively simple version of that splendid “unpleasantness.”

In particular, the two poems both titled “The Chimney Sweeper” offer eloquent examples of Blake’s unsettling art. (One “Chimney Sweeper” poem comes from the Songs of Innocence; the other, from the Songs of Experience.) I can think to myself that the poem in Songs of Innocence is more powerful than the one in Songs of Experience, because the Innocence characters—both the “I” who speaks and “little Tom Dacre”—provide, in their heartbreaking extremes of acceptance, the more devastating indictment of social and economic arrangements that sell and buy children, sending them to do crippling, fatal labor.

By that light, the Experience poem entitled “The Chimney Sweeper,” explicit and accusatory, can seem a lesser work of art. The Innocence poem is implicit and ironic. Its delusional or deceptive Angel with a bright key exposes religion as exploiting the credulous children, rather than protecting them or rescuing them. The profoundly, utterly “innocent” speaker provides a subversive drama.

But that judgment is unsettled by second thoughts: Does the irony of the Innocence poem affect me all the more—does it penetrate without seeming heavy?—precisely because I am aware of the Experience poem? Do the explicit lines “They clothed me in the clothes of death,/ And taught me to sing the notes of woe” re-enforce the Innocence poem’s meanings—while pointedly differing from, maybe even criticizing, that counterpart-poem’s ironic method? And doesn’t that, too, bring another, significant note of dramatic outrage?

Or, to put it the question more in terms of subject matter, both poems dramatize the way religion, government, and custom collaborate in social arrangements that impose cruel treatment on some people while enhancing the lives of others (for example, by cleaning their chimneys). Does the naked, declarative quality of the Experience poem sharpen my understanding of the Innocence poem? Does the pairing hold back or forbid my understanding’s tendency to become self-congratulatory or pleasantly resolved? It is in the nature of William Blake’s genius to make such questions not just literary but moral.

“The Chimney Sweeper,” from Songs of Innocence

When my mother died I was very young,
And my father sold me while yet my tongue
Could scarcely cry ” ‘weep! ‘weep! ‘weep! ‘weep!’ ”
So your chimneys I sweep & in soot I sleep.

There’s little Tom Dacre, who cried when his head
That curled like a lamb’s back, was shaved: so I said,
“Hush, Tom! never mind it, for when your head’s bare
You know that the soot cannot spoil your white hair.”

And so he was quiet, & that very night,
As Tom was a-sleeping he had such a sight!
That thousands of sweepers, Dick, Joe, Ned & Jack,
Were all of them locked up in coffins of black.

And by came an Angel who had a bright key,
And he opened the coffins & set them all free;
Then down a green plain, leaping, laughing, they run,
And wash in a river and shine in the Sun.

Then naked & white, all their bags left behind,
They rise upon clouds and sport in the wind.
And the Angel told Tom, if he’d be a good boy,
He’d have God for his father & never want joy.

And so Tom awoke; and we rose in the dark,
And got with our bags & our brushes to work.
Though the morning was cold, Tom was happy & warm;
So if all do their duty, they need not fear harm.

—William Blake

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Arts and Letters, Literature

MondayPoem: Upon Nothing

[div class=attrib]By Robert Pinsky for Slate:[end-div]

The quality of wit, like the Hindu god Shiva, both creates and destroys—sometimes, both at once: The flash of understanding negates a trite or complacent way of thinking, and that stroke of obliteration at the same time creates a new form of insight and a laugh of recognition.

Also like Shiva, wit dances. Leaping gracefully, balancing speed and poise, it can re-embody and refresh old material. Negation itself, for example—verbal play with words like nothing and nobody: In one of the oldest jokes in literature, when the menacing Polyphemus asks Odysseus for his name, Odysseus tricks the monster by giving his name as the Greek equivalent of Nobody.

Another, immensely moving version of that Homeric joke (it may have been old even when Homer used it) is central to the best-known song of the great American comic Bert Williams (1874-1922). You can hear Williams’ funny, heart-rending, subtle rendition of the song (music by Williams, lyrics by Alex Rogers) at the University of California’s Cylinder Preservation and Digitization site.

The lyricist Rogers, I suspect, was aided by Williams’ improvisations as well as his virtuoso delivery. The song’s language is sharp and plain. The plainness, an almost throw-away surface, allows Williams to weave the refrain-word “Nobody” into an intricate fabric of jaunty pathos, savage lament, sly endurance—all in three syllables, with the dialect bent and stretched and released:

When life seems full of clouds and rain,
And I am full of nothing and pain,
Who soothes my thumpin’, bumpin’ brain?
Nobody.

When winter comes with snow and sleet,
And me with hunger, and cold feet—
Who says, “Here’s twenty-five cents
Go ahead and get yourself somethin’ to eat”?
Nobody.

I ain’t never done nothin’ to Nobody.
I ain’t never got nothin’ from Nobody, no time.
And, until I get somethin’ from somebody sometime,
I’ll never do nothin’ for Nobody, no time.

In his poem “Upon Nothing,” John Wilmot (1647-80), also known as the earl of Rochester, deploys wit as a flashing blade of skepticism, slashing away not only at a variety of human behaviors and beliefs, not only at false authorities and hollow reverences, not only at language, but at knowledge—at thought itself:

“Upon Nothing”

………………………1
Nothing, thou elder brother ev’n to Shade
Thou hadst a being ere the world was made,
And, well fixed, art alone of ending not afraid.

………………………2
Ere Time and Place were, Time and Place were not,
When primitive Nothing Something straight begot,
Then all proceeded from the great united What.

………………………3
Something, the general attribute of all,
Severed from thee, its sole original,
Into thy boundless self must undistinguished fall.

………………………4
Yet Something did thy mighty power command,
And from thy fruitful emptiness’s hand
Snatched men, beasts, birds, fire, water, air, and land.

………………………5
Matter, the wicked’st offspring of thy race,
By Form assisted, flew from thy embrace
And rebel Light obscured thy reverend dusky face.

………………………6
With Form and Matter, Time and Place did join,
Body, thy foe, with these did leagues combine
To spoil thy peaceful realm and ruin all thy line.

………………………7
But turncoat Time assists the foe in vain,
And bribed by thee destroys their short-lived reign,
And to thy hungry womb drives back thy slaves again.

………………………8
Though mysteries are barred from laic eyes,
And the divine alone with warrant pries
Into thy bosom, where thy truth in private lies;

………………………9
Yet this of thee the wise may truly say:
Thou from the virtuous nothing doest delay,
And to be part of thee the wicked wisely pray.

………………………10
Great Negative, how vainly would the wise
Enquire, define, distinguish, teach, devise,
Didst thou not stand to point their blind philosophies.

………………………11
Is or Is Not, the two great ends of Fate,
And true or false, the subject of debate,
That perfect or destroy the vast designs of state;

………………………12
When they have racked the politician’s breast,
Within thy bosom most securely rest,
And when reduced to thee are least unsafe, and best.

………………………13
But, Nothing, why does Something still permit
That sacred monarchs should at council sit
With persons highly thought, at best, for nothing fit;

………………………14
Whilst weighty something modestly abstains
From princes’ coffers, and from Statesmen’s brains,
And nothing there, like stately Nothing reigns?

………………………15
Nothing, who dwell’st with fools in grave disguise,
For whom they reverend shapes and forms devise,
Lawn-sleeves, and furs, and gowns, when they like thee look wise.

………………………16
French truth, Dutch prowess, British policy,
Hibernian learning, Scotch civility,
Spaniards’ dispatch, Danes’ wit, are mainly seen in thee.

………………………17
The great man’s gratitude to his best friend,
Kings’ promises, whores’ vows, towards thee they bend,
Flow swiftly into thee, and in thee ever end.

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Arts and Letters, Literature

MondayPoem: Michelangelo’s Labor Pains

[div class=attrib]By Robert Pinsky for Slate:[end-div]

After a certain point, reverence can become automatic. Our admiration for great works of art can get a bit reflexive, then synthetic, then can harden into a pious coating that repels real attention. Michelangelo’s painted ceiling of the Sistine Chapel in the Vatican might be an example of such automatic reverence. Sometimes, a fresh look or a hosing-down is helpful—if only by restoring the meaning of “work” to the phrase “work of art.”

Michelangelo (1475-1564) himself provides a refreshing dose of reality. A gifted poet as well as a sculptor and painter, he wrote energetically about despair, detailing with relish the unpleasant side of his work on the famous ceiling. The poem, in Italian, is an extended (or “tailed”) sonnet, with a coda of six lines appended to the standard 14. The translation I like best is by the American poet Gail Mazur. Her lines are musical but informal, with a brio conveying that the Italian artist knew well enough that he and his work were great—but that he enjoyed vigorously lamenting his discomfort, pain, and inadequacy to the task. No wonder his artistic ideas are bizarre and no good, says Michelangelo: They must come through the medium of his body, that “crooked blowpipe” (Mazur’s version of “cerbottana torta“). Great artist, great depression, great imaginative expression of it. This is a vibrant, comic, but heartfelt account of the artist’s work:

Michelangelo: To Giovanni da Pistoia
“When the Author Was Painting the Vault of the Sistine Chapel” —1509

I’ve already grown a goiter from this torture,
hunched up here like a cat in Lombardy
(or anywhere else where the stagnant water’s poison).
My stomach’s squashed under my chin, my beard’s
pointing at heaven, my brain’s crushed in a casket,
my breast twists like a harpy’s. My brush,
above me all the time, dribbles paint
so my face makes a fine floor for droppings!

My haunches are grinding into my guts,
my poor ass strains to work as a counterweight,
every gesture I make is blind and aimless.
My skin hangs loose below me, my spine’s
all knotted from folding over itself.
I’m bent taut as a Syrian bow.

Because I’m stuck like this, my thoughts
are crazy, perfidious tripe:
anyone shoots badly through a crooked blowpipe.

My painting is dead.
Defend it for me, Giovanni, protect my honor.
I am not in the right place—I am not a painter.

[div class=attrib]More from theSource here.[end-div]

Arts and Letters, Literature

MondayPoem: Adam’s Curse

[div class=attrib]By Robert Pinsky for Slate:[end-div]

Poetry can resemble incantation, but sometimes it also resembles conversation. Certain poems combine the two—the cadences of speech intertwined with the forms of song in a varying way that heightens the feeling. As in a screenplay or in fiction, the things that people in a poem say can seem natural, even spontaneous, yet also work to propel the emotional action along its arc.

The casual surface of speech and the inward energy of art have a clear relation in “Adam’s Curse” by William Butler Yeats (1865-1939). A couple and their friend are together at the end of a summer day. In the poem, two of them speak, first about poetry and then about love. All of the poem’s distinct narrative parts—the setting, the dialogue, the stunning and unspoken conclusion—are conveyed in the strict form of rhymed couplets throughout. I have read the poem many times, for many years, and every time, something in me is hypnotized by the dance of sentence and rhyme. Always, in a certain way, the conclusion startles me. How can the familiar be somehow surprising? It seems to be a principle of art; and in this case, the masterful, unshowy rhyming seems to be a part of it. The couplet rhyme profoundly drives and tempers the gradually gathering emotional force of the poem in ways beyond analysis.

Yeats’ dialogue creates many nuances of tone. It is even a little funny at times: The poet’s self-conscious self-pity about how hard he works (he does most of the talking) is exaggerated with a smile, and his categories for the nonpoet or nonmartyr “world” have a similar, mildly absurd sweeping quality: bankers, schoolmasters, clergymen … This is not wit, exactly, but the slightly comical tone friends might use sitting together on a summer evening. I hear the same lightness of touch when the woman says, “Although they do not talk of it at school.” The smile comes closest to laughter when the poet in effect mocks himself gently, speaking of those lovers who “sigh and quote with learned looks/ Precedents out of beautiful old books.” The plain monosyllables of “old books” are droll in the context of these lovers. (Yeats may feel that he has been such a lover in his day.)

The plainest, most straightforward language in the poem, in some ways, comes at the very end—final words, not uttered in the conversation, are more private and more urgent than what has come before. After the almost florid, almost conventionally poetic description of the sunset, the courtly hint of a love triangle falls away. The descriptive language of the summer twilight falls away. The dialogue itself falls away—all yielding to the idea that this concluding thought is “only for your ears.” That closing passage of interior thoughts, what in fiction might be called “omniscient narration,” makes the poem feel, to me, as though not simply heard but overheard.

“Adam’s Curse”

We sat together at one summer’s end,
That beautiful mild woman, your close friend,
And you and I, and talked of poetry.
I said, “A line will take us hours maybe;
Yet if it does not seem a moment’s thought,
Our stitching and unstitching has been naught.
Better go down upon your marrow-bones
And scrub a kitchen pavement, or break stones
Like an old pauper, in all kinds of weather;
For to articulate sweet sounds together
Is to work harder than all these, and yet
Be thought an idler by the noisy set
Of bankers, schoolmasters, and clergymen
The martyrs call the world.”

And thereupon
That beautiful mild woman for whose sake
There’s many a one shall find out all heartache
On finding that her voice is sweet and low
Replied, “To be born woman is to know—
Although they do not talk of it at school—
That we must labour to be beautiful.”
I said, “It’s certain there is no fine thing
Since Adam’s fall but needs much labouring.
There have been lovers who thought love should be
So much compounded of high courtesy
That they would sigh and quote with learned looks
Precedents out of beautiful old books;
Yet now it seems an idle trade enough.”

We sat grown quiet at the name of love;
We saw the last embers of daylight die,
And in the trembling blue-green of the sky
A moon, worn as if it had been a shell
Washed by time’s waters as they rose and fell
About the stars and broke in days and years.

I had a thought for no one’s but your ears:
That you were beautiful, and that I strove
To love you in the old high way of love;
That it had all seemed happy, and yet we’d grown
As weary-hearted as that hollow moon.

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