U3A – Art/Poetry/Music Exhibition – Promoting Poetry

An Exhibition of Art, Poetry and Music was held by Canberra University of the Third Age (U3A) Groups on 20 October.

For interest, and to promote the Poetry Appreciation Group I created a POETRY TREE and attached twenty quotes on the nature of poetry by famous poets – Keats, Wordsworth, Auden, Frost, Owen, Hunt, Pound, Coleridge, Finch, Shelley, Sandburg, Arnold, Hill and Stevens.

PoetryTree
The Poetry Tree:   Poetry = Discovery

… and then a ‘Cento poem’ where each line takes text taken from the quotes –

Poetry

Unearths
the best words
the supreme fiction
must be as well written as prose

conceived and composed in the soul
the spontaneous outflow
a way of taking life
the breath and finer

shall tune her sacred voice
in the pity
the feverish fit
the flower of experience

a spark of inextinguishable thought
the opening and closing
should surprise
should be great

the achievement
makes nothing happen
what is lost in translation
at bottom a criticism

Richard Scutter

Context  – from the quotes …

Geoffrey Hill (English Poet) – Poetry unearths from among the speechless dead
Coleridge – Poetry equals the best words in the best order
Wallace Stevens – Poetry is the supreme fiction, madame.
Ezra Pound – Poetry must be as well written as prose
Mathew Arnold – Poetry is conceived and composed in the soul
Wordsworth – Poetry is the spontaneous overflow of powerful feelings
Robert Frost – Poetry is a way of taking life by the throat
Wordsworth – Poetry is the breath and finer spirit of knowledge
Samuel Johnson – Poetry shall tune her sacred voice, and wake
from ignorance the Western World
Wilfred Owen – Poetry is in the pity of war
Anne Finch (English Poet) Poetry’s the feverish fit, the overflowing of
unbounded wit
Leigh Hunt – Poetry – I take to be the flower of any kind of experience
Shelley – Poetry – a single word may even be a spark of inextinguishable thought
Carl Sanburg (American poet) – Poetry is the opening and closing of a door, …
Keats – Poetry should surprise by a fine excess
Keats – Poetry should be great and unobtrusive
Carl Sanburg (American poet) – Poetry is the achievement of the synthesis
of hyacinths and biscuits
W. H. Auden – Poetry makes nothing happen
Robert Frost – Poetry is what is lost in translation
Matthew Arnold – Poetry is at bottom a criticism of life

R-SpeakingTalking Poetry

In one word Poetry = Discovery … the poet discovers something in the creation process –  apart from the fact that achievment was possible! – perhaps a deeper personal understanding of experience … the reader discovers something of life disclosed by the poet and always something of the nature of the poet. And if art = looking and seeing and the repeat of this again and again then poetry = reading and absorbing and then repeating this again and again. Discovery is not a simple process. The U3A Poetry Appreciation Group hopefully helps insight by sharing within the group – especially where poems are a little difficult on first readings.

Love’s Arithmetic – Catullus

Love’s Arithemetic

Let’s live and love while yet we may,
My Lesbia: all the things they say,
Those crabbed old gossips, let’s agree,
Aren’t worth a farthing – what care we?
Each night the sun goes down, each morn
Another bright new day is born,
And when we quench our puny light,
Comes endless sleep, eternal night.
So kiss me, Lesbia, I implore,
A thousand times, a hundred more,
Another thousand, with again
A hundred kisses in their train,
And even after these I will
Demand eleven hundred still,
Whereat we’d better cease to tot
And mix together all the lot,
Lest envious eyes should keep the count
And grudge my lips the full amount.

Valerius Catullus born Verona (87bc – 47bc)
Reversed by Peter Hadley
From An anthology of classical verse (Epic to Epigram)

Lesbia – was the literary pseudonym of the great love of Catullus
Lesbos – an island in the Aegean sea.

Wonderful eight syllable rhythm … let’s live and love while yet we may … and count not what others do or say … enjoy, enjoy, enjoy your day!

But beware of love’s attraction … that it does not move from addiction to affliction! … see below on details of his love-life

From Wikipedia … It was probably in Rome that Catullus fell deeply in love with the “Lesbia” of his poems, who is usually identified with Clodia Metelli, a sophisticated woman from the aristocratic house of patrician family Claudii Pulchri, sister of the infamous Publius Clodius Pulcher, and wife to proconsul Quintus Caecilius Metellus Celer. In his poems Catullus describes several stages of their relationship: initial euphoria, doubts, separation, and his wrenching feelings of loss. Clodia was a woman with a ravenous sexual appetite; “From the poems one can adduce no less than five lovers in addition to Catullus: Egnatius (poem 37), Gellius (poem 91), Quintius (poem 82), Rufus (poem 77), and Lesbius (poem 79).” There is also some question surrounding her husband’s mysterious death in 59 B.C., some critics believing he was domestically poisoned. Yet, a sensitive and passionate Catullus could not relinquish his flame for Clodia, regardless of her obvious indifference to his desire for a deep and permanent relationship. In his poems, Catullus wavers between devout, sweltering love and bitter, scornful insults that he directs at her blatant infidelity (as demonstrated in poems 11 and 58). His passion for her is unrelenting— yet it is unclear when exactly the couple split up for good. Catullus’s poems about the relationship display striking depth and psychological insight.

Dead Poets Readings – Canberra 2014

Poems read at the Dead Poets Dinner on 22 July 2014

The Dead Poets Dinner, run by Geoff Page as an annual event, was held at ‘The Gods’ Cafe at the Australian National University Canberra on the 22nd of July. This event started in 1998 and as usual it was a very lively and entertaining evening.

For interest below is a list of readers and the poems read. Full marks to Laurie McDonald in his rendition of David Meyers’ poem ‘Fencing in the Dark’– an excellent choice … an entertaining, humorous and easily accessible poem … it is difficult to choose deep poems at such events … that is unless the audience is already aware of the poem. David Meyers was a local poet and for many years he was involved with the Queanbeyan Bush Poets. He died of cancer at the age of 63.

Colin Campbell / Thomas Blackburn – A Smell of Burning, and Hospital for Defectives
Marion Halligan / Yeats – Sailing to Byzantium
Joyce Freedman / Siegfriend Sassoon – Everyone Sang
Hazel Hall / Hilaire Belloc – Tarantella
Chris Dorman / William Baine – The Archery of William Tell
Kathy Kituai / Muso Susaki – Sun in Midnight
Nicola Bowery / Sarah Broom – About Me, and That Moon
Wendy McMahon Bell / Seamus Heaney – Digging
P.S. Cottier / Catherine Martin – The Mouse Tower
Geoff Page / Seamus Heaney – From the Republic of Conscience
Laurie McDonald / David Meyers – Fencing in the Dark
Carmel Summers / Janice Bostok – Amongst the Graffiti
Moya Pacey / Elizabeth Bishop – One Art, and Louis MacNeice Wolves
Rosa O’Kae / Seamus Heaney – Skunk
Sue Edgar / J.L. Borges – Mirror, and Sylvia Plath – Mirror
Adrienne Johns / Hugh McDiarmid – Vanitas, and Balmorality
John Stokes / R.F. Brissenden – The Whale in Darkness
Mary Besemeres / Wizlawa Szymborska – View With a Grain of Sand
Sarah Rice / T.S. Eliot excerpts from Little Gidding
Emily Rice / Ted Hughes – Tractor
Annie Didcott / Keats – Ode to a Nightingale
Tony Williams / Neruda – The Dead Woman
Arlene Williams / J.J. Bray – Address to Pigeons in Hurtle Square, and William Carlos Williams – This is just to say
John Van de Graaff / Seamus Heaney – Follower, and D.H. Lawrence – Piano
Adrian Caesar / R.S. Thomas – The Owl
Michael Thorley / Thomas Hardy – Channel Firing, and They
Andrew McDonald / poems by two Scottish poets (Norman McCaig?)
Lesley Lebkowicz / poems by Soseki
Alan Gould / a song by Hamish Henderson
Alinta Leaver / Kenneth Koch – Variations on a Theme by William Carlos Williams
Richard Scutter / Auden – Musee des Beaux Arts, and Hopkins – Inversnaid
Martin Dolan / Dylan Thomas – Prologue
Marlene Hall / Thomas Wyatt – Whoso list upon the slipper top
Melinda Smith / Francis Webb – Cap and Bells, and The Bells of St Peter Mancroft
Ruth Pieloor / C.J. Dennis – The Australaise
Janette Pieloor / Gwen Harwood -The Secret Life of Frogs

To Time – An early Sylvia Plath Sonnet

The following sonnet was written by Sylvia Plath about 1952-53 at the age of 19-20, and probably as a student as a class assignment for her English professor, Alfred Young Fisher, at Smith College. Apparently SP followed the annotated suggestions of her professor.

Sonnet: To Time

Today we move in jade and cease with garnet
amid the clicking jewelled clocks that mark
our years. Death comes in a casual steel car, yet
we vaunt our days in neon, and scorn the dark.

But outside the diabolic steel of this
most plastic-windowed city, I can hear
the lone wind raving in the gutter, his
voice crying exclusion in my ear.

So cry for the pagan girl left picking olives
beside a sun-blue sea, and mourn the flagon
raised to toast a thousand kings, for all gives
sorrow: weep for the legendary dragon.

Time is a great machine of iron bars
that drains eternally the milk of stars.

Sylvia Plath

This poem was taken from the Juvenilia section of ‘SP Collected Poems’.

Here are some questions to promote discussion …

What type of sonnet … what is the rhyming scheme and metre?

What is the overall issue of concern?

How does jade and garnet relate to time?

Why does the poet view the city as plastic-windowed?

What is the overall feeling conveyed by the second stanza?

Why a ‘legendary dragon’ … why weep for the dragon?

What is missed by the reader if only the couplet is read?

And for the creative, write an alternative couplet based on a positive perspective of time in relation to the universe, for example …

time endlessly spreads the rays of the sun
throughout our world touching everyone.

W B Yeats – on his philosophy

W B Yeats 1885 – 1939 … a symbolist (Ezra Pound) … W  B Yeats the most cited name in The Oxford Illustrated History of Ireland.

Here are some words from Yeats on his philosophy and thinking on poetry.

‘A poet writes always of his private life’ … the autobiographical component transmuted by storytelling, fantasy, symbol and also history. I would tend to agree with this in that everything we say and write defines us in some way or other.

Yeats claimed that ‘all sounds, all colours, all forms … evoke indefinable and yet precise emotions … because an emotion does not exist until it has found an expression … poets, painters, and musicians … are continually making and unmaking mankind’

In an essay on the philosophy of Shelley’s Poetry he wrote …

‘It is only by ancient symbols, by symbols which have numberless meanings … that any highly subject art can escape from the barrenness and shallowness of a too conscious arrangement, into the abundance and depth of nature’.

He believed there to be emotional and intellectual symbols … often personal … a product of an external force … evoking the shared human mind and memory (similar in ways to Jung’s collective unconscious)

In poetry it is symbolism that has the power to move people. I would argue that it is the association invoked by the symbolism that develops an emotive response by the reader.

He was certain that ‘imagination has some way of alighting on the truth that reason has not’

… and also intuition (my comment)

‘Symbolism began with the first words uttered by the first man, as he named every living thing; or before then in heaven when God named the world into being’ …

From Symons – The Symbolist Movement in Literature 1900

Concerning his basic philosophy … Yeats’ three famous beliefs …

1 … that the borders of our mind are ever shifting and that many minds can flow into one another … and create or reveal a single mind, or single energy.

 2 … that the borders of our memories are as shifting, memories are part of one great memory, the memory of Nature herself.

 3 … that this great mind, memory can be invoked by symbols.

From ‘Magic’ essays and introductions’ … dated 1901 pp. 33,60

Those with a positive outlook might equate the essence of such a single mind to be that of beauty, of order, of joy, of healing, and of course love itself … and for the religious a spiritual communal dimension. Any intuitive thoughts?

Yeats also had an association with the occult …and I think this may have influenced Ted Hughes in his experimentation at university.

Yeats had an image for Ireland based on an agrarian society with few politician and tradesmen and a dominant class based on the landed gentry.

Other References:

Critics on Yeats – Readings in Literary Criticism ISBN 0 04 801012 X
The Twentieth Century in Poetry – Peter Childs ISBN 0 415 17101 6

God is not Nature, Nature God
But Nature product of the same
That from itself a God became
Of beauty beyond any name

Arab Love-Song – Francis Thompson

Arab Love-Song

The hunched camels of the night
Trouble the bright
And silver waters of the moon.
The maiden of the morn will soon
Through heaven stray and sing,
Star gathering

Now while the dark about our loves is strewn,
Light of my dark, blood of my heart, O Come!
And night will catch her breath up and be dumb.

Leave thy father, leave thy mother
And thy brother!
Leave the black tents of thy tribe apart!
Am I not thy father and thy brother,
And thy mother?
And thou – what needest with thy tribe’s black tents
Who hast the red pavilion of my heart?

Francis Thompson 1899

You get the sense of the camels as moving shapes disturbing moonlight and I do like the idea of the sun drawing up the stars in heavenly song.

The great need of the lover for another expressed so strongly in terms of heart, blood and light – marrying in the words of the heavenly sun-rise from the first stanza.

I don’t know about the scenario of one person’s needs being completely encompassed in the life of another though! … the lover who will do everything for you … but perhaps we can forget realities, it is a love song after all … a song to woo or entice another.

Lovers and poets have a tendency to exaggerate don’t you think?

Francis Thompson … chiefly known for his poem … ‘The hound of heaven’

Some Words and Philosophy – Virginia Woolf

Her more mature novels – Mrs Dalloway (MD) … To The Lighthouse … The Waves

To my knowledge Virginia Woolf1 never wrote any poetry. However, I really enjoy  her words from her books … you could say there are sparks of the poetic as well as being profound, philosophic … consider Mrs Dalloway (MD) for example …

… from metonymy (an attribute stands for the thing itself) to metaphor … a multi-layered metaphoric stream of consciousness with a certain poetic lyrical flow … VW used a new approach in writing

… all about sensitive people living from one privileged moment to the next, passing through intervening periods of depression and doubt

And then thought Clarissa Dalloway, what a morning – fresh as if issued to children on a beach.

                          What a lark! What a plunge!

 For so it had always seen to her when, with a little squeak of the hinges, which she could hear now, she had burst open the French windows and plunged at Bourton into the open air. How fresh, how calm, stiller than this of course, the air was in the early morning, like the flap of the wave, the kiss of the wave … (page 3 MD)

Lark and plunge … Life and death … to build up or to close in … these are the two contending forces in MD … Clarissa is touched by both as she moves through her activities in arranging a party on a glorious June day … her parallel opposite is the shell-shocked Septimus Smith who disturbs her joie de vie.

Individuality and universality in irreconcilable opposition … each person seeks to be connected to the whole from which that person is alienated by individual existence.

… different people in different places at the same time … layered together in an underlying communion … reflected in the individual’s actions in ways unknown … exploring the extent and influence of such impressions made on the individual consciousness …

… did it matter that she must inevitably cease completely; all this must go on without her (page 9 MD)

 … somehow in the streets of London, on the ebb and flow of things, here, there, she survived, Peter survived, lived in each other, she being part, of the trees at home, … part of the people she had never met; being laid out like a mist between the people she knew best (pages 9-10 MD)

 … nothing exists outside us except a state of mind  … (page 62 MD)

 … the narrator is a consciousness born by the consciousness created from the characters in the novel … yet somehow apart … seeing all, knowing all perspectives … in the present as the present unfolds … including in the present the past remembered by the characters … the virtual present of the readers’ experience

… unity, reconciliation, communion well up spontaneously from within the characterisation

… the narrator is unknown but sensed by the characters … does the narrator have life outside the life of the characters and if this is the case then what is the nature of such individuality? … the vital questions.

VW’s ‘great discovery’ 2 … ‘tunnelling process’ … to dig our beautiful caves behind her characters … humanity, humour, depth … the caves connect

VW philosophy … miraculous joy of the moment rises out of the commonplace, not from some transcendental source …

How moments like these are buds on the tree of life (MD page 31)

Foolishly, she had set them opposite each other. That could be remedied tomorrow. If it were fine, they should go for a picnic. Everything seemed possible. Everything seemed right. Just now (but this cannot last, she thought, dissociating herself from the moment while they were all talking about boots) just now she had reached security; she hovered like a hawk suspended; like a flag floating in an element of joy which filled every nerve of her body fully and sweetly, not noisily, solemnly rather, for it arose, she thought, looking at them all eating there, from husband and children and friends; all of this rising in this profound stillness (she was helping William Bankes to one very small piece more and peered into the depths of the earthenware pot) seemed now for no special reason to stay there like smoke, like a fume rising upwards, holding them safe together. Nothing need be said, nothing could be said. There it was all around them. It partook, she felt, carefully helping Mr Bankes to an especially tender piece, of eternity; as she had already felt about something different once before that afternoon; there is a coherence in things, a stability; something she meant, is immune from change, and shines out (she glanced at the window with its ripple of reflected lights) in the face of the flowing, the fleeting, the spectral, like a ruby; so that again tonight she had the feeling she had had once today already, of peace, of rest. Of such moments, she thought, the thing is made that remains forever after. This would remain.

(from ‘To The Lighthouse’ … pages 113-114)

 Footnotes …

1Virginia Woolf 1882 – 1941 …  father Sir Leslie Stephen …educated by her father’s magnificent library … member of ‘The Bloomsbury Group’ … lived in the cultured world of the London intelligentsia… bisexual … relationship with  Vita Sackville-West … worked with husband Leonard to found the Hogarth Press … depressive – suicided

Reference –

2Mrs Dalloway and To The Lighthouse … contemporary critical essays … Edited by Su Read.  (New Casebooks – Macmillan)

Reviewing Wuthering Heights – Emily Bronte

The place names and characters in WH …

 Wuthering Heights (Earnshaw) v Thrushcorft Grange (Linton)

passionate hard brutal v comfortable soft refined

 Earnshaw

The children …

Hindley, Cathy – Heathercliff (Foundling)

Relationships …

Hindley–Francis (an outsider) > Hareton (son)

Heathecliff–Isabella > Linton (son)

 Linton

The children …

Edgar, Isablella

Relationships …

Edgar–Cathy > Catherine (daughter)

Isabella–Heathcliff  > Linton (son)

 Ellen Dean … housekeeper to both families at different times and one of the narrators

Lockwood … tenant of the Grange after control by Heathcliff … the second narrator of the story … a southern who would not understand the intensity of the wild north family

Other … Joseph, Zillah … W Heights

Note the apt choice of names … and initials …

It was common for the mother Catherine to become Cathy and the daughter to take the name Catherine.

The HC combination in the first generation  … then the forced revenge marriage of what was in fact a Linton marrying Linton in (Linton and Catherine) and then ending with some hope in the final relationship HC (Hareton – Catherine) in the second generation.

Reviewing the Book  …

Wuthering … a local word meaning atmospheric tumult.

The book may be difficult to read perhaps because there are two narrators and that there are breaks in the ‘time windows’ described. Actual windows play an important part … from Lockwood’s nightmare when forced to stay the night at the Heights … the children looking into the window of the Grange …to Lockwood looking into the window at the Heights at the end of the novel. The family relationships are quite simple and have a well-crafted and designed symmetry (see above).

The novel covers a 25 year period in two distinct parts before Cathy Earnshaw’s (Linton after marriage) death and then the life of the second generation after Cathy’s death. The first part establishes the foundation of the wild love between Heathcliff and Cathy, her ‘bad decision’ to marry Edgar. Then the return of a prosperous but revengeful Heathercliff and the dramatic effect this had on both households.

The remainder of the book deals with the influence of Heathcliff on the second generation. His revengeful acts both by his marriage to Isabella. Then the naming of his son Linton the dominance of Linton’s life and Heathcliff’s reciprocating ill-treatment on Hareton after the death of Francis after his own ill-treatment by Hindley. Heathcliff helps the destruction of Hindley by drink. He forces the marriage of Catherine to Linton to get control on the Grange but after the death of Linton when Catherine develops her relationship with Hareton he curtails his original resentment.

It is the age-old story of humanity connected to nature and the coming to terms with the different aspects of the human condition. The differences and the fragilities are set against the wild environment. The final integration of the two families (Catherine and Hareton) in a sort of happiness provides a calm – that is before the arrival of the next storm of course – hopefully not such as dramatic as the foundling Heathcliff.

The wild moors and the spiritual world is integrated in the characters … especially Catherine (Cathy) Earnshaw (Linton) … and after her death she haunts the rest of the book and becomes a ghost obsessive to the thoughts of the revengeful Heathercliff.

Some comments on Emily Bronte

Nature pervades all her writing … a longing to be connected to the forces of nature … her characters representatives of eternal truths.

Expressing high emotion in precise symbol and image is evident throughout the prose and poetry of Emily Bronte.

The open freedom of the moors was essential to Emily’s happiness and creativity. Writings involved themes of liberty and repression.

Charlotte in her memoir to the1850 editions of WH states … Liberty was the breath of Emily’s nostrils

Stronger than a man, simpler that a child her nature stood alone … Charlotte on her sister.

In her own family Emily supported the wayward brother Branwell when other family gave up on his misdemeanours.

She was influenced by the literary figures of her day … especially Byron and Scott.”

My favourite poem by Emily Bronte – ‘No Coward Soul is Mine’.