Showing posts with label metaphysicals. Show all posts
Showing posts with label metaphysicals. Show all posts

Tuesday, April 14, 2026

but yet the body is his book

It's my birthday! We went to NASA (Space Center Houston!) because I am 41 and still a space kid at heart. I was thinking about space poems to post (or moon poems, or poems about planets), and that got me to a not-super-surprising metaphysical place and then I thought, "I miss inflicting John Donne on people my birthday." So here is a deeply weird Donne poem that I have not posted before. (I posted "The Sun Rising" in 2008, otherwise you'd obviously be getting that one.) But what is this bonkers poem about, you may ask. The body? Sex? Death? Plato? Soul bonds? Being drift compatible with a possibly dead person while sharing a grave? All of the above, probably. It also has one of my favorite and most quintessentially "this is disgusting, bro, what are you doing" Donne couplets, which is the one about the eye-stalks.

Where, like a pillow on a bed
A pregnant bank swell'd up to rest
The violet's reclining head,
Sat we two, one another's best;
Our hands were firmly cemented
With a fast balm, which thence did spring,
Our eye-beams twisted, and did thread
Our eyes upon one double string;
So to'intergraft our hands, as yet
Was all the means to make us one,
And pictures in our eyes to get
Was all our propagation.
As 'twixt two equal armies, fate
Suspends uncertain victory,
Our souls (which to advance their state
Were gone out) hung 'twixt her and me.
And whilst our souls negotiate there,
We like sepulchral statues lay;
All day, the same our postures were,
And we said nothing, all the day.
If any, so by love refin'd
That he soul's language understood,
And by good love were grown all mind,
Within convenient distance stood,
He (though he knew not which soul spake,
Because both meant, both spake the same)
Might thence a new concoction take
And part far purer than he came.
This ecstasy doth unperplex,
We said, and tell us what we love;
We see by this it was not sex,
We see we saw not what did move;
But as all several souls contain
Mixture of things, they know not what,
Love these mix'd souls doth mix again
And makes both one, each this and that.
A single violet transplant,
The strength, the colour, and the size,
(All which before was poor and scant)
Redoubles still, and multiplies.
When love with one another so
Interinanimates two souls,
That abler soul, which thence doth flow,
Defects of loneliness controls.
We then, who are this new soul, know
Of what we are compos'd and made,
For th' atomies of which we grow
Are souls, whom no change can invade.
But oh alas, so long, so far,
Our bodies why do we forbear?
They are ours, though not we; we are
The intelligences, they the spheres.
We owe them thanks, because they thus
Did us, to us, at first convey,
Yielded their senses' force to us,
Nor are dross to us, but allay.
On man heaven's influence works not so,
But that it first imprints the air;
So soul into the soul may flow,
Though it to body first repair.
As our blood labors to beget
Spirits, as like souls as it can,
Because such fingers need to knit
That subtle knot which makes us man,
So must pure lovers' souls descend
T' affections, and to faculties,
Which sense may reach and apprehend,
Else a great prince in prison lies.
To'our bodies turn we then, that so
Weak men on love reveal'd may look;
Love's mysteries in souls do grow,
But yet the body is his book.
And if some lover, such as we,
Have heard this dialogue of one,
Let him still mark us, he shall see
Small change, when we'are to bodies gone.

—John Donne (1572-1631), "The Ecstasy" (or "The Extasie"), from Songs and Sonnets, originally published in print in 1633, although it certainly circulated in manuscript before then. This is obviously neither a song nor a sonnet.

Sunday, April 20, 2025

imp my wing

Every time I post a George Herbert poem on or around Easter I think to myself, "but what if I posted 'Easter Wings' instead?!" The problem with "Easter Wings" is that it's a pattern poem, so the way it's displayed on the page is essential, and that is very annoying to code here in a way that reads effectively. Conveniently, however, the Wikipedia entry about the poem has some images of both manuscript and early print editions, and the text of the poem can be read at Poetry Foundation. So for Easter, go read "Easter Wings," if you care to, and feel some type of way!

And here's a bonus poem, because I was reading through The Temple (it's devotional poetry season) and I really love this one. I missed a day earlier in the month, so I think we can double up on Herbert—it has been a few years.

Who sayes that fictions onely and false hair
Become a verse? Is there in truth no beautie?
Is all good structure in a winding stair?
May no lines passe, except they do their dutie
            Not to a true, but painted chair?

Is it no verse, except enchanted groves
And sudden arbours shadow course-spunne lines?
Must purling streams refresh a lovers loves?
Must all be vail'd, while he that reades, divines,
            Catching the sense at two removes?

Shepherds are honest people; let them sing:
Riddle who list, for me, and pull for Prime:
I envie no mans nightingale or spring;
Nor let them punish me with losse of ryme,
            Who plainly say, My God, My King.

—George Herbert (1593-1633), "Jordan (I)" from The Temple, 1633. I took it from the Helen Wilcox edition of The English Poems of George Herbert (Cambridge University Press, 2007). This isn't exactly a sonnet (it's fifteen lines), but it follows a lot of sonnet rules, including the turn after line ten. And it's very much in conversation with Sidney and Donne, especially. I love how cranky Herbert is about other poetry, like, "COME ON, GUYS, I CAN WRITE TOTALLY STRAIGHTFORWARD LOVE POETRY ABOUT GOD, OKAY?" (Spoilers: he cannot, he's still a metaphysical poet.)

Thursday, April 13, 2023

practice my art

I took a couple of years off from posting John Donne, both because I have already posted many of my top Donne poems and because sometimes you need a break from your favorite poets. In the years since I left grad school in 2016, I've also moved away—in some ways—from my early modernist roots. But I will always love the metaphysical poets for their absolutely bonkers weirdness as much as for the occasionally sublime, so here's a deeply weird poem about oral sex.

Who ever loves, if he do not propose
The right true end of love, he's one that goes
To sea for nothing but to make him sick.
Love is a bear-whelp born: if we o'er lick
Our love, and force it new strange shapes to take,
We err, and of a lump a monster make.
Were not a calf a monster that were grown
Faced like a man, though better than his own?
Perfection is in unity: prefer
One woman first, and then one thing in her.
I, when I value gold, may think upon
The ductileness, the application,
The wholesomeness, the ingenuity,
From rust, from soil, from fire ever free;
But if I love it, 'tis because 'tis made
By our new nature (Use) the soul of trade.
    All these in women we might think upon
(If women had them) and yet love but one.
Can men more injure women than to say
They love them for that, by which they're not they?
Makes virtue woman? Must I cool my blood
Till I both be, and find one, wise and good?
May barren angels love so! But if we
Make love to woman, virtue is not she,
As beauty's not, nor wealth. He that strays thus
From her to hers, is more adulterous,
Then if he took her maid. Search every sphere
And firmament, our Cupid is not there;
He's an infernal god, and under ground
With Pluto dwells, where gold and fire abound;
Men to such gods their sacrificing coals
Did not in altars lay, but pits and holes.
Although we see celestial bodies move
Above the earth, the earth we till and love:
So we her airs contemplate, words and heart
And virtues, but we love the centrique part.
    Nor is the soul more worthy, or more fit,
For love, then this, as infinite as it.
But in attaining this desired place
How much they err, that set out at the face.
The hair a forest is of ambushes,
Of springs, snares, fetters and manacles;
The brow becalms us when 'tis smooth and plain,
And when 'tis wrinkled shipwrecks us again—
Smooth, 'tis a paradise, where we would have
Immortal stay, and wrinkled 'tis our grave.
The nose (like to the first meridian) runs
Not 'twixt an East and West, but 'twixt two suns;
It leaves a cheek, a rosy hemisphere,
On either side, and then directs us where
Upon the islands fortunate we fall,
(Not faint Canaries, but Ambrosial),
Her swelling lips; to which when we are come,
We anchor there, and think ourselves at home,
For they seem all: there Sirens' songs, and there
Wise Delphic Oracles do fill the ear;
There in a creek where chosen pearls do swell,
The remora, her cleaving tongue doth dwell.
These, and the glorious promontory, her chin,
O'erpassed, and the straight Hellespont between
The Sestos and Abydos of her breasts,
(Not of two lovers, but two loves the nests)
Succeeds a boundless sea, but yet thine eye
Some island moles may scattered there descry;
And sailing towards her India, in that way
Shall at her fair Atlantic navel stay;
Though thence the current be thy pilot made,
Yet ere thou be where thou wouldst be embayed
Thou shalt upon another forest set,
Where many shipwreck and no further get.
When thou art there, consider what this chase
Misspent by thy beginning at the face.
    Rather set out below; practice my art,
Some symmetry the foot hath with that part
Which thou dost seek, and is thy map for that,
Lovely enough to stop, but not stay at;
Least subject to disguise and change it is—
Men say the Devil never can change his.
It is the emblem that hath figured
Firmness; 'tis the first part that comes to bed.
Civility we see refined; the kiss
Which at the face began, transplanted is,
Since to the hand, since to the imperial knee,
Now at the papal foot delights to be:
If kings think that the nearer way, and do
Rise from the foot, lovers may do so too;
For as free spheres move faster far than can
Birds, whom the air resists, so may that man
Which goes this empty and ethereal way,
Then if at beauty's elements he stay.
Rich nature hath in women wisely made
Two purses, and their mouths aversely laid:
They then, which to the lower tribute owe
That way which that exchequer looks, must go:
He which doth not, his error is as great
As who by clyster gave the stomach meat.

—John Donne (1572-1631), "Elegy XVIII: Love's Progress," although there is, as is often the case with Donne, some dispute about the title; it could be "An Elegie on Loves Progress" or "Loves Progress" or "On Loves Progress." I made a bunch of choices about the spelling, capitalization, and punctuation that are not really consistent with anything except how I think it should read, so it's a good thing I'm not actually a textual editor. This poem ends with the truly incredible metaphor of a meat enema (that is what clyster means, I am sorry), which sure is a choice.

Saturday, April 25, 2020

the love of that fair tree

Today I went outside, and, being outside in the sunshine, in very nice parks that had way too many people in them, I thought, "I want a country house." So here's a country house poem. There were a lot of reasons I never finished my dissertation, but this poem wasn't one of them; I love country house poems. This country house poem is a patronage bid (of course), and frequently kind of hilarious, but it's also about loss and nostalgia in a way that can be sort of achy and beautiful. Also, it's pretty queer.

Farewell (sweet Cooke-ham) where I first obtained
Grace from that grace where perfect grace remained;
And where the muses gave their full consent,
I should have power the virtuous to content;
Where princely palace willed me to indite,
The sacred story of the soul’s delight.
Farewell (sweet place) where virtue then did rest,
And all delights did harbor in her breast;
Never shall my sad eyes again behold
Those pleasures which my thoughts did then unfold.
Yet you (great Lady) Mistress of that place,
From whose desires did spring this work of grace;
Vouchsafe to think upon those pleasures past,
As fleeting worldly joys that could not last,
Or, as dim shadows of celestial pleasures,
Which are desired above all earthly treasures.
Oh how (methought) against you thither came,
Each part did seem some new delight to frame!
The house received all ornaments to grace it,
And would endure no foulness to deface it.
And walks put on their summer liveries,
And all things else did hold like similes.
The trees with leaves, with fruits, with flowers clad,
Embraced each other, seeming to be glad,
Turning themselves to beauteous Canopies,
To shade the bright sun from your brighter eyes;
The crystal streams with silver spangles graced,
While by the glorious sun they were embraced;
The little birds in chirping notes did sing,
To entertain both you and that sweet spring.
And Philomela with her sundry lays,
Both you and that delightful place did praise.
Oh how me thought each plant, each flower, each tree
Set forth their beauties then to welcome thee!
The very hills right humbly did descend,
When you to tread on them did intend.
And as you set your feet, they still did rise,
Glad that they could receive so rich a prize.
The gentle winds did take delight to be
Among those woods that were so graced by thee,
And in sad murmur uttered pleasing sound,
That pleasure in that place might more abound.
The swelling banks delivered all their pride
When such a Phoenix once they had espied.
Each arbor, bank, each seat, each stately tree,
Thought themselves honored in supporting thee;
The pretty birds would oft come to attend thee,
Yet fly away for fear they should offend thee;
The little creatures in the burrough by
Would come abroad to sport them in your eye,
Yet fearful of the bow in your fair hand.
Would run away when you did make a stand.
Now let me come unto that stately tree,
Wherein such goodly prospects you did see;
That oak that did in height his fellows pass,
As much as lofty trees, low growing grass,
Much like a comely cedar straight and tall,
Whose beauteous stature far exceeded all.
How often did you visit this fair tree,
Which seeming joyful in receiving thee,
Would like a palm tree spread his arms abroad,
Desirous that you there should make abode;
Whose fair green leaves much like a comely veil,
Defended Phoebus when he would assail;
Whose pleasing boughs did yield a cool fresh air,
Joying his happiness when you were there.
Where being seated, you might plainly see
Hills, vales, and woods, as if on bended knee
They had appeared, your honor to salute,
Or to prefer some strange unlooked-for suit;
All interlaced with brooks and crystal springs,
A prospect fit to please the eyes of kings.
And thirteen shires appeared all in your sight,
Europe could not afford much more delight.
What was there then but gave you all content,
While you the time in meditation spent
Of their Creator’s power, which there you saw,
In all his creatures held a perfect law;
And in their beauties did you plain descry
His beauty, wisdom, grace, love, majesty.
In these sweet woods how often did you walk,
With Christ and his Apostles there to talk;
Placing his holy Writ in some fair tree
To meditate what you therein did see.
With Moses you did mount his holy hill
To know his pleasure, and perform his will.
With lowly David you did often sing
His holy hymns to Heaven’s eternal King.
And in sweet music did your soul delight
To sound his praises, morning, noon, and night.
With blessed Joseph you did often feed
Your pined brethren, when they stood in need.
And that sweet Lady sprung from Clifford’s race,
Of noble Bedford’s blood, fair stem of grace,
To honorable Dorset now espoused,
In whose fair breast true virtue then was housed,
Oh what delight did my weak spirits find
In those pure parts of her well framèd mind.
And yet it grieves me that I cannot be
Near unto her, whose virtues did agree
With those fair ornaments of outward beauty,
Which did enforce from all both love and duty.
Unconstant Fortune, thou art most to blame,
Who casts us down into so low a frame
Where our great friends we cannot daily see,
So great a difference is there in degree.
Many are placed in those orbs of state,
Partners in honor, so ordained by Fate,
Nearer in show, yet farther off in love,
In which, the lowest always are above.
But whither am I carried in conceit,
My wit too weak to conster of the great.
Why not? although we are but born of earth,
We may behold the heavens, despising death;
And loving heaven that is so far above,
May in the end vouchsafe us entire love.
Therefore sweet memory do thou retain
Those pleasures past, which will not turn again:
Remember beauteous Dorset’s former sports,
So far from being touched by ill reports,
Wherein myself did always bear a part,
While reverend love presented my true heart.
Those recreations let me bear in mind,
Which her sweet youth and noble thoughts did find,
Whereof deprived, I evermore must grieve,
Hating blind Fortune, careless to relieve,
And you sweet Cooke-ham, whom these ladies leave,
I now must tell the grief you did conceive
At their departure, when they went away,
How everything retained a sad dismay.
Nay long before, when once an inkling came,
Methought each thing did unto sorrow frame:
The trees that were so glorious in our view,
Forsook both flowers and fruit, when once they knew
Of your depart, their very leaves did wither,
Changing their colors as they grew together.
But when they saw this had no power to stay you,
They often wept, though, speechless, could not pray you,
Letting their tears in your fair bosoms fall,
As if they said, Why will ye leave us all?
This being vain, they cast their leaves away
Hoping that pity would have made you stay:
Their frozen tops, like age’s hoary hairs,
Shows their disasters, languishing in fears.
A swarthy riveled rind all over spread,
Their dying bodies half alive, half dead.
But your occasions called you so away
That nothing there had power to make you stay.
Yet did I see a noble grateful mind
Requiting each according to their kind,
Forgetting not to turn and take your leave
Of these sad creatures, powerless to receive
Your favor, when with grief you did depart,
Placing their former pleasures in your heart,
Giving great charge to noble memory
There to preserve their love continually.
But specially the love of that fair tree,
That first and last you did vouchsafe to see,
In which it pleased you oft to take the air
With noble Dorset, then a virgin fair,
Where many a learned book was read and scanned,
To this fair tree, taking me by the hand,
You did repeat the pleasures which had passed,
Seeming to grieve they could no longer last.
And with a chaste, yet loving kiss took leave,
Of which sweet kiss I did it soon bereave,
Scorning a senseless creature should possess
So rare a favor, so great happiness.
No other kiss it could receive from me,
For fear to give back what it took of thee,
So I ungrateful creature did deceive it
Of that which you in love vouchsafed to leave it.
And though it oft had given me much content,
Yet this great wrong I never could repent;
But of the happiest made it most forlorn,
To show that nothing’s free from Fortune’s scorne,
While all the rest with this most beauteous tree
Made their sad consort sorrow’s harmony.
The flowers that on the banks and walks did grow,
Crept in the ground, the grass did weep for woe.
The winds and waters seemed to chide together
Because you went away they knew not whither;
And those sweet brooks that ran so fair and clear,
With grief and trouble wrinkled did appear.
Those pretty birds that wonted were to sing,
Now neither sing, nor chirp, nor use their wing,
But with their tender feet on some bare spray,
Warble forth sorrow, and their own dismay.
Fair Philomela leaves her mournful ditty,
Drowned in deep sleep, yet can procure no pity.
Each arbor, bank, each seat, each stately tree
Looks bare and desolate now for want of thee,
Turning green tresses into frosty gray,
While in cold grief they wither all away.
The sun grew weak, his beams no comfort gave,
While all green things did make the earth their grave.
Each brier, each bramble, when you went away
Caught fast your clothes, thinking to make you stay;
Delightful Echo wonted to reply
To our last words, did now for sorrow die;
The house cast off each garment that might grace it,
Putting on dust and cobwebs to deface it.
All desolation then there did appear,
When you were going whom they held so dear.
This last farewell to Cooke-ham here I give,
When I am dead thy name in this may live,
Wherein I have performed her noble hest
Whose virtues lodge in my unworthy breast,
And ever shall, so long as life remains,
Tying my life to her by those rich chains.

—Aemilia Lanyer (1569-1645), "The Description of Cooke-ham" originally published in 1611, at the conclusion of Salve Deus Rex Judaeorum (Printed for Valentine Simmes for Richard Bonian). Salve Deus Rex Judaeorum was entered in the Stationers' Register on October 2, 1610, and "The Description of Cooke-ham" has to have been written before then and after February 25, 1609, when Anne Clifford married and became the Countess of Dorset. Of course, the poem itself is the only real evidence that Lanyer actually spent any time at Cookham with the Cliffords, especially since the Cliffords barely lived there and the property didn't even belong to them. It also does not seem to have been a successful patronage bid on Lanyer's part, which may or may not have been her own fault for putting her poems into print. If you've heard of Aemilia Lanyer before (not from me) and are not generally familiar with seventeenth-century poetry, it's probably as a possible candidate for the Dark Lady of the Sonnets, or Shakespeare if Shakespeare wasn't Shakespeare and was a lady (both of these ideas are nonsense, but the second one delights me).

Lanyer's poem was also the first printed country house poem in English, and predates Ben Jonson's "To Penshurst" by five years, which means that crediting Jonson with the foundation of the seventeenth-century country house poem tradition is absolutely a dick move. In case anyone was wondering, my favorite part of this poem is the whole thing where Margaret Clifford (the Duchess of Cumberland, to whom the poem is addressed, along with her daughter Anne, famous seventeenth-century diarist) kisses the tree, and then Aemilia TAKES THE KISS FROM THE TREE. FOR REASONS?! Is it really a country house poem if somebody isn't doing something questionable with a tree?

Sunday, April 12, 2020

love bade me welcome

Rounding out the last several days of devotional poetry: George Herbert. I always think about posting Easter Wings on Easter, but the problem is that any type-rendered version looks wrong to me; it's a poem that's fundamentally meant for manuscript, where it's much easier to write out as visual wings. But I started today—before reading a bunch of Herbert this afternoon—by making a very spectacular brunch for one (deviled eggs, oven bacon, blueberry buttermilk pancakes) and then watching Jesus Christ Superstar online with friends. It wasn't how today was supposed to go, pre-virus, but it had its moments. And I think we can probably all use a little metaphysical love in our lives.

Love bade me welcome: yet my soul drew back,
                                Guilty of dust and sinne.
But quick-eyed Love, observing me grow slack
                                From my first entrance in,
Drew nearer to me, sweetly questioning,
                                If I lack'd any thing.

A guest, I answer'd, worthy to be here:
                                Love said, you shall be he.
I the unkind, ungrateful? Ah, my dear,
                                I cannot look on thee.
Love took my hand, and smiling did reply,
                                Who made the eyes but I?

Truth Lord, but I have marr'd them: let my shame
                                Go where it doth deserve.
And know you not, says Love, who bore the blame?
                                My dear, then I will serve.
You must sit down, says Love, and taste my meat:
                                So I did sit and eat.

—George Herbert (1593-1633), "Love (III)" from The Temple, 1633. This is the closing lyric of The Temple, and I took it from the excellent Helen Wilcox edition of The English Poems of George Herbert (Cambridge University Press, 2007), but slightly modernized the spelling. This is one of the most widely discussed and known of Herbert's poems, and I think it's pretty special.

Friday, April 10, 2020

my soul's form bends

In this house, we post devotional poetry in multiple religions! I've alluded to this poem more than once over the years, but for various reasons I've never posted it; it seemed like it was time.

Let man's soul be a sphere, and then in this
The intelligence that moves, devotion is,
And as the other spheres, by being grown
Subject to foreign motion, lose their own,
And being by others hurried every day
Scarce in a year their natural form obey,
Pleasure or business so our souls admit
For their first mover, and are whirled by it.
Hence is't that I am carried towards the West
This day, when my soul's form bends towards the East.
There I should see a sun by rising set,
And by that setting endless day beget;
But that Christ on this cross did rise and fall,
Sin had eternally benighted all.
Yet dare I'almost be glad I do not see
That spectacle, of too much weight for me.
Who sees God's face, that is self life, must die:
What a death were it then to see God die!
It made his own lieutenant, Nature, shrink:
It made his footstool crack, and the sun wink.
Could I behold those hands which span the Poles,
And turn all spheres at once, pierced with those holes?
Could I behold that endless height which is
Zenith to us and our Antipodes,
Humbled below us? Or that blood, which is
The seat of all our souls, if not of his,
Make dirt of dust? Or that flesh, which was worn
By God for his apparel, rag'd and torn?
If on these things I durst not look, durst I
Upon his miserable mother cast mine eye,
Who was God's partner here, and furnish'd thus
Half of that sacrifice which ransom'd us?
Though these things as I ride be from mine eye,
They're present yet unto my memory,
For that looks towards them; and thou look'st towards me,
O Saviour, as though hang'st upon the tree.
I turn my back to thee but to receive
Corrections, till thy mercies bid thee leave.
O think me worth thine anger, punish me,
Burn off my rusts and my deformity;
Restore thine image so much by thy grace
That thou may'st know me, and I'll turn my face.

—John Donne (1572-1631), "Good Friday, 1613: Riding Westward," also known as "Good Friday: Made as I was Riding Westward that Day," "Good Friday," "Riding Westward," "A Meditation upon Good Friday, 1613" and several other variations; presumably written on April 2, 1613. The general consensus is that Donne was riding to visit Sir Edward Herbert in Wales. I had in my head the apocryphal theory that Donne was leaving London to get away from the plague when he wrote this poem, but I don't think that's actually true—1613 doesn't seem to have been a major plague year, even if it would make a good story, here in 2020. I slightly adapted the (modernized) orthography and punctuation from the massive Longman Complete Poems of John Donne, edited by Robin Robbins (2010), but with Donne you're always editing a little, even when you choose an edition. His poetry circulated so widely that there's no true standardized text, which personally I sort of like—e.g. line 22, which could be "tune all spheres" or "turn all spheres," both of which make sense in context and look pretty much exactly the same in secretary hand.

Saturday, April 27, 2019

possibility


In thirteen years of posting poems, I have posted very little famous Emily Dickinson. She wrote so many poems that it's not actually that hard to post non-famous ones, but the truth is that the famous ones are sometimes famous for good reasons. I really love this poem. 

I dwell in Possibility –
A fairer House than Prose –
More numerous of Windows –
Superior – for Doors –

Of Chambers as the Cedars –
Impregnable of eye –
And for an everlasting Roof
The Gambrels of the Sky –

Of Visitors – the fairest –
For Occupation – This –
The spreading wide my narrow Hands
To gather Paradise –

—Emily Dickinson (1830-1886), "I dwell in Possibility," #466, in this case from the R. W. Franklin edition of The Poems of Emily Dickinson, via Poetry Foundation. Emily Dickinson is a metaphysical poet; fight me.

like sky-written letters on a windy day


I'm counting this poem for yesterday (there will be another poem later today), but it's also sort of a first: this is the first year in poetry month history where I don't have a John Donne poem on my schedule. But I do have this one, which isn't exactly not a John Donne poem. 

Every reader loves the way he tells off
the sun, shouting busy old fool
into the English skies even though they
were likely cloudy on that seventeenth-century morning. 

And it's a pleasure to spend this sunny day
pacing the carpet and repeating the words, 
feeling the syllables lock into rows
until I can stand and declare, 
the book held closed by my side, 
that hours, days, and months are but the rags of time. 

But after a few steps into stanza number two, 
wherein the sun is blinded by his mistress's eyes, 
I can feel the first one begin to fade
like sky-written letters on a windy day. 

And by the time I have taken in the third, 
the second is likewise gone, a blown-out candle now, 
a wavering line of acrid smoke. 

So it's not until I leave the house
and walk three times around this hidden lake
that the poem begins to show
any interest in walking by my side. 

Then, after my circling, 
better than the courteous dominion
of her being all states and him all princes, 

better than love's power to shrink 
the wide world to the size of a bedchamber, 

and better even than the compression 
of all that into the rooms of these three stanzas

is how, after hours stepping up and down the poem, 
testing the plank of every line, 
it goes with me now, contracted into a little spot within. 

—Billy Collins, "Memorizing 'The Sun Rising' by John Donne," from Horoscopes for the Dead, 2011. I posted "The Sun Rising" back in 2008.

Monday, April 22, 2019

my rivers and my stars


This poem is a little in conversation with John Donne in a way I really adore, but I don't think you need the Donne to appreciate it; it's a phenomenal poem about bodies and aging and embodiedness, and it's by Ursula Le Guin. What more do you need to know? 

The map of the tributaries of the Amazon
in blue, on the right thigh; 
lesser river systems
on the lower left leg. 
Extremities far more extreme: 
knobbed, wired, bent, and multiknuckled. 
Some dun cloud
drifts across the color of the eye, 
that aged nestling in its baggy nest, 
still avid, still insatiable. 
Replacement of cheek by jowl, 
of curve by hook or crook. 
Moles, warts, wenlets, cancerlings, 
a distressed finish, constellations, 
here the Twins, there the Cluster, 
flesh Pleiades
coming out thick at evening of the skin, 
pied beauty—there is none
that hath not some Strangeness in the Proportion. 
So the columnar what was waist
sockets to the cushioned pediment
of hips and buttocks. Parts are missing. Scars
lie smiling soft and small among the folds
and hillocks of that broad countryside. 
Oh, have I not my rivers and my stars, 
my wrinkled ranges in the Western sun? 
Oh, have I not my Strangeness? 
I am this continent, 
and still explore and find no boundary, 
for the far sandy beaches of my mind
where soft vast waves and winds erase
the words, the faces—this is still
endless, this is endless still. 
I am that wind, that ocean. 

—Ursula K. Le Guin (1928-2018), "Inventory," from In the Red Zone: Mount St. Helens, October 1981, although I have it in Finding My Elegy: New and Selected Poems 1960-2010 (2012). Other direct references in this poem include Gerard Manley Hopkins' "Pied Beauty" and Francis Bacon's "Of Beauty."

Monday, April 15, 2019

that square & speckled stone


Notre Dame is on fire and I'm depressed about it; I really love that cathedral. I was sadly texting with K about it, and she requested this poem, and, well, yeah. Nobody does church architecture like Herbert does, and he still makes me cry sometimes. 

Mark you the floore? that square & speckled stone,
                         Which looks so firm and strong,
                                             Is Patience:

And th' other black and grave, wherewith each one
                         Is checker'd all along,
                                             Humilitie:

The gentle rising, which on either hand
                         Leads to the Quire above,
                                             Is Confidence:

But the sweet cement, which in one sure band
                         Ties the whole frame, is Love
                                             And Charitie.

     Hither sometimes Sinne steals, and stains 
     The marbles neat and curious veins: 
But all is cleansed when the marble weeps. 
     Sometimes Death, puffing at the doore, 
     Blows all the dust about the floore: 
But while he thinks to spoil the room, he sweeps. 
     Blest be the Architect, whose art 
     Could build so strong in a weak heart. 

—George Herbert (1593-1633), "The Church-floore" from The Temple, 1633, and in this case from the excellent Helen Wilcox edition (Cambridge University Press, 2007). 

For Herbert, the church is always a heart (and the heart, a church).

Tuesday, April 25, 2017

new spheres

Speaking of poets who are gay for God, here's a little of our good friend John Donne, for April 17:

I am a little world made cunningly
Of elements and an angelic sprite,
But black sin hath betray'd to endless night
My world's both parts, and oh both parts must die.
You which beyond that heaven which was most high
Have found new spheres, and of new lands can write,
Pour new seas in mine eyes, that so I might
Drown my world with my weeping earnestly,
Or wash it, if it must be drown'd no more.
But oh it must be burnt; alas the fire
Of lust and envy have burnt it heretofore,
And made it fouler; let their flames retire,
And burn me O Lord, with a fiery zeal
Of thee and thy house, which doth in eating heal.

—John Donne (1572-1631), Holy Sonnet V. My favorite thing about the Holy Sonnets is how little chill Donne has about his kinky God feelings. Like, he's got a LOT of kinky God feelings, and he doesn't care who knows about them.

Thursday, April 14, 2016

this is the second of our reign

I was going to wait until I was home with my three different editions of Donne, but I have a few minutes now, between a full day of work and my dinner plans, so here we go. IT'S MY BIRTHDAY. IT'S A DONNE YEAR. IT'S TIME FOR THIS POEM.

All kings, and all their favourites,
    All glory of honours, beauties, wits,
The sun itself, which makes time, as they pass,
Is elder by a year now than it was
When thou and I first one another saw.
All other things to their destruction draw,
    Only our love hath no decay;
This no to-morrow hath, nor yesterday;
Running it never runs from us away,
But truly keeps his first, last, everlasting day.

    Two graves must hide thine and my corse;
    If one might, death were no divorce.
Alas! as well as other princes, we
—Who prince enough in one another be—
Must leave at last in death these eyes and ears,
Oft fed with true oaths, and with sweet salt tears;
    But souls where nothing dwells but love
—All other thoughts being inmates—then shall prove
This or a love increasèd there above,
When bodies to their graves, souls from their graves remove.

    And then we shall be throughly blest;
    But now no more than all the rest.
Here upon earth we're kings, and none but we
Can be such kings, nor of such subjects be.
Who is so safe as we? where none can do
Treason to us, except one of us two.
    True and false fears let us refrain,
Let us love nobly, and live, and add again
Years and years unto years, till we attain
To write threescore; this is the second of our reign.

—John Donne (1572-1621), "The Anniversarie" or, sometimes, "The Anniversary" (not to be confused with the Anniversaries) from Songs and Sonnets, here with modernized spelling and punctuation courtesy of E. K. Chambers, I think. I mean, honestly, whatever. I could yell about editorial practices for years, but let's just let the poem be, today.

Tuesday, April 12, 2016

like those knowing flowers

I am trying to recuperate my sense of wonder and joy in what I do, today, so here is a poem about books and the people who love them. K. posted this poem yesterday, and reminded me how much I love it; plus, I think it's time for something from before 1700.

Bright books! the perspectives to our weak sights,
The clear projections of discerning lights,
Burning and shining thoughts, man’s posthume day,
The track of fled souls, and their milkie way,
The dead alive and busie, the still voice
Of enlarged spirits, kind Heaven’s white decoys!
Who lives with you lives like those knowing flowers,
Which in commerce with light spend all their hours;
Which shut to clouds, and shadows nicely shun,
But with glad haste unveil to kiss the sun.
Beneath you all is dark, and a dead night,
Which whoso lives in wants both health and sight.
     By sucking you, the wise, like bees, do grow
Healing and rich, though this they do most slow,
Because most choicely; for as great a store
Have we of books as bees of herbs, or more:
And the great task to try, then know, the good,
To discern weeds, and judge of wholesome food,
Is a rare scant performance. For man dyes
Oft ere ’tis done, while the bee feeds and flyes.
But you were all choice flowers; all set and dressed
By old sage florists, who well knew the best;
And I amidst you all am turned a weed,
Not wanting knowledge, but for want of heed.
Then thank thyself, wild fool, that wouldst not be
Content to know—what was too much for thee!

—Henry Vaughan (1621-1695), "To His Books."

Monday, April 27, 2015

wiser far than I

I missed yesterday because I was feeling like death. I am still kind of feeling like death, but here are two poems that go together, for yesterday and today. I may have posted the first one, back in 2008 when I posted a Renaissance Poetry Miscellany, but it's been a long time, and I've never posted the second. They do, I feel, play best together.

Come live with me, and be my love,
And we will all the pleasures prove,
That valleys, groves, hills, and fields,
Woods or steepy mountain yields.

And we will sit upon the rocks,
Seeing the shepherds feed their flocks,
By shallow rivers, to whose falls
Melodious birds sing madrigals.

And I will make thee beds of roses,
And a thousand fragrant posies;
A cap of flowers and a kirtle
Embroidered all with leaves of myrtle;

A gown made of the finest wool,
Which from our pretty lambs we pull;
Fair lined slippers for the cold,
With buckles of the purest gold;

A belt of straw and ivy-buds,
With coral clasps and amber studs;
And if these pleasures may thee move,
Come live with me, and be my love.

The shepherds' swains shall dance and sing
For thy delight each May morning:
If these delights thy mind may move,
Then live with me, and be my love.

—Christopher Marlowe (1564-1593), "The Passionate Shepherd To His Love," in print in 1599, but certainly in manuscript before then, with a terminus ad quem of 1593. Spelling and punctuation modernized, mostly to my preferences.

*

Come live with me, and be my love,
And we shall some new pleasures prove
Of golden sands and crystal brooks,
With silken lines and silver hooks.

There will the river whispering run
Warmed by thy eyes more than the sun,
And there th'enamoured fish will stay,
Begging themselves they may betray.

When thou wilt swim in that live bath,
Each fish, which every channel hath,
Will amorously to thee swim,
Gladder to catch thee than thou him.

If thou to be so seen be'st loth,
By sun or moon, thou dark'nest both,
And if my heart have leave to see,
I need not their light, having thee.

Let others freeze with angling-reeds,
And cut their legs with shells and weeds,
Or treach'rously poor fish beset,
With strangling snare or windowy net:

Let coarse, bold hands from slimy nest
The bedded fish in banks out-wrest;
Or, curious traitors, sleeve-silk flies,
Bewitch poor fishes' wand'ring eyes.

For thee, thou need'st no such deceit,
For thou thyself art thine own bait;
That fish that is not caught thereby,
Alas, is wiser far than I.

—John Donne (1572-1631), "The Bait," uncertain date, but likely 1590s; 1633 in print. Spelling and punctuation modernized to my preferences, but with reference to the Longman Donne (ed. Robin Robbins), which has the most excessive extensive editing of any Donne edition in my possession.

To do this properly I should probably also include The Nymph's Reply to the Shepherd, generally attributed to Walter Ralegh. But I like the strict juxtaposition of Marlowe and Donne, which is all one really needs to be like, "SO METAPHYSICAL POETRY."

Monday, April 7, 2014

crashing through the iron gates of life

This poem has been in my to-post folder since 2011, which means that I've been sitting on it for rather a long time. This is a little weird, because I feel this poem with great frequency and acuteness; but then, maybe that's just the way this sort of thing is supposed to go.

Maybe it was the fast-moving clouds
or the spring flowers quivering among the dead leaves,
but I knew this was one day I was born to seize—

not just another card in the deck of the year,
but March 19th itself,
looking as clear and fresh as the ten of diamonds.

Living life to the fullest is the only way,
I thought as I sat by a tall window
and tapped my pencil on the dome of a glass paperweight.

To drain the cup of life to the dregs
was a piece of irresistible advice,
I averred as I checked someone's dates

in the Dictionary of National Biography
and later, as I scribbled a few words
on the back of a picture postcard.

Crashing through the iron gates of life
is what it is all about,
I decided as I lay down on the carpet,

locked my hands behind my head,
and considered how unique this day was
and how different I was from the men

of hari-kari for whom it is disgraceful
to end up lying on your back.
Better, they think, to be found facedown

in blood-soaked shirt
than to be discovered with lifeless eyes
fixed on the elegant teak ceiling above you,

and now I can almost hear the silence
of the temple bells and the lighter silence
of the birds hiding in the darkness of a hedge.

—Billy Collins (b. 1941), "Carpe Diem," from Ballistics, 2008.

Sunday, April 28, 2013

ninety-seven stanzas about a house

One of things about National Poetry Month is that it generally seems best to post poems that are relatively short. This is both a problem and an advantage: while I have been known to excerpt epics, and while I did once post the entire first book of Paradise Lost, it really does make more sense to post poems that can be read comfortably in one go, that can be typed up or copied and pasted and edited in a relatively short amount of time, that don't fill too much space. It makes more sense that way, and it also means that you guys are probably more likely to enjoy the poems. Longer poems take longer to read, and take up more time, and time is usually at a premium for me, in April.

But sometimes, I need to break my own rules. Sometimes, I need to post a poem that encapsulates -- if a poem as this metaphysically crazy can ever be said to encapsulate anything -- a lot of my feelings about the 17th century, that is about a house and a landscape and the history of a place, that is about contemporary politics, and family, and the English Civil War, and patronage, that does intensely bizarre things with metaphysical conceits, that collapses space and time and mythology, that has evil lesbian nuns and bondage sex with trees and a character that breaks the fourth wall from inside the poem. If you like Alice in Wonderland, you will probably like this poem; if you like science fiction, you might like this poem. I love this poem, but let it never be said that it is not utterly fucking batshit. It contains multitudes.

So here you are: Andrew Marvell's Upon Appleton House:

I.

Within this sober frame expect
Work of no foreign architect;
That unto caves the quarries drew,
And forests did to pastures hew;
Who of his great design in pain
Did for a model vault his brain,
Whose columns should so high be raised
To arch the rows that on them gazed.

II.

Why should of all things Man unruled
Such unproportioned dwellings build?
The beasts are by their dens exprest:
And birds contrive an equal nest;
The low-roofed tortoises do dwell
In cases fit of tortoise-shell:
No creature loves an empty space;
Their bodies measure out their place.

III.

But he, superfluously spread,
Demands more room alive then dead.
And in his hollow palace goes
Where winds as he themselves may lose.
What need of all this marble crust
T'impark the wanton mote of dust,
That thinks by breadth the world t'unite
Though the first builders failed in height?

IV.

But all things are composed here
Like Nature, orderly and near:
In which we the dimensions find
Of that more sober age and mind,
When larger-sized men did stoop
To enter at a narrow loop;
As practising, in doors so strait,
To strain themselves through heaven's gate.

V.

And surely when the after age
Shall hither come in pilgrimage,
These sacred places to adore,
By Vere and Fairfax trod before,
Men will dispute how their extent
Within such dwarfish confines went:
And some will smile at this, as well
As Romulus his bee-like cell.

VI.

Humility alone designs
Those short but admirable lines,
By which, ungirt and unconstrained,
Things greater are in less contained.
Let others vainly strive t'immure
The circle in the quadrature!
These holy mathematics can
In ev'ry figure equal man.

VII.

Yet thus the laden house does sweat,
And scarce indures the Master great:
But where he comes the swelling hall
Stirs, and the square grows spherical;
More by his magnitude distrest,
Then he is by its straitness prest:
And too officiously it slights
That in it self which him delights.

VIII.

So Honour better lowness bears,
Than that unwonted Greatness wears
Height with a certain grace does bend,
But low things clownishly ascend.
And yet what needs there here excuse,
Where ev'ry thing does answer use?
Where neatness nothing can condemn,
Nor pride invent what to contemn?

IX.

A stately frontispice of poor
Adorns without the open door:
Nor less the rooms within commends
Daily new furniture of friends.
The house was built upon the place
Only as for a mark of grace;
And for an inn to entertain
Its Lord a while, but not remain.

X.

Him Bishop's-Hill, or Denton may,
Or Bilbrough, better hold than they:
But Nature here hath been so free
As if she said 'Leave this to me'.
Art would more neatly have defac'd
What she had laid so sweetly wast;
In fragrant gardens, shady woods,
Deep meadows, and transparent floods.

XI.

While with slow eyes we these survey,
And on each pleasant footstep stay,
We opportunly may relate
The progress of this house's fate.
A nunnery first gave it birth.
(For virgin buildings oft brought forth),
And all that neighbour-ruin shows
The quarries whence this dwelling rose.

XII.

Near to this gloomy cloister's gates
There dwelt the blooming virgin Thwaites,
Fair beyond measure, and an heir
Which might deformity make fair.
And oft she spent the summer suns
Discoursing with the subtle nuns.
Whence in these words one to her weaved,
(As 'twere by chance) thoughts long conceived.

XIII.

'Within this holy leisure we
Live innocently as you see.
These walls restrain the world without,
But hedge our liberty about.
These bars inclose the wider den
Of those wild creatures, called men.
The cloister outward shuts its gates,
And, from us, locks on them the grates.

XIV.

'Here we, in shining armour white,
Like virgin Amazons do fight.
And our chaste lamps we hourly trim,
Lest the great Bridegroom find them dim.
Our orient breaths perfumed are
With incense of incessant prayer.
And holy-water of our tears
Most strangly our complexion clears.

XV.

'Not tears of grief; but such as those
With which calm pleasure overflows;
Or pity, when we look on you
That live without this happy vow.
How should we grieve that must be seen
Each one asSpouse, and each a queen;
And can in heaven hence behold
Our brighter robes and crowns of gold?

XVI.

'When we have prayed all our beads,
Some one the holy legend reads;
While all the rest with needles paint
The face and graces of the saint.
But what the linen can't receive
They in their lives do interweave
This work the saints best represents;
That serves for altar's ornaments.

XVII.

But much it to our work would add
If here your hand, your face we had:
By it we would Our Lady touch;
Yet thus She you resembles much.
Some of your features, as we sewed,
Through every shrine should be bestowed.
And in one beauty we would take
Enough a thousand saints to make.

XVIII.

'And (for I dare not quench the fire
That me does for your good inspire)
'Twere sacrilege a man t'admit
To holy things, for heaven fit.
I see the angels in a crown
On you the lilies show'ring down:
And round about you glory breaks,
That something more then human speaks.

XIX.

'All beauty, when at such a height,
Is so already consecrate.
Fairfax I know; and long ere this
Have marked the youth, and what he is.
But can he such a rival seem
For whom you heav'n should disesteem?
Ah, no! and 'twould more honour prove
He your devoto were, than love.

XX.

'Here live beloved, and obeyed:
Each one your sister, each your maid.
And, if our rule seem strictly penned,
The rule it self to you shall bend.
Our abbess too, now far in age,
Doth your succession near presage.
How soft the yoke on us would lie,
Might such fair hands as yours it tie!

XXI.

'Your voice, the sweetest of the choir,
Shall draw heav'n nearer, raise us higher.
And your example, if our head,
Will soon us to perfection lead.
Those virtues to us all so dear,
Will straight grow sanctity when here:
And that, once sprung, increase so fast
Till miracles it work at last.

XXII.

'Nor is our order yet so nice,
Delight to banish as a vice.
Here pleasure piety doth meet;
One perfecting the other sweet.
So through the mortal fruit we boil
The sugar's uncorrupting oil:
And that which perished while we pull,
Is thus preserved clear and full.

XXIII.

'For such indeed are all our arts;
Still handling nature's finest parts.
Flowers dress the altars; for the clothes,
The sea-born amber we compose;
Balms for the grieved we draw; and pastes
We mould, as baits for curious tastes.
What need is here of man, unless
These as sweet sins we should confess.

XXIV.

'Each night among us to your side
Appoint a fresh and virgin Bride;
Whom if Our Lord at midnight find,
Yet neither should be left behind.
Where you may lie as chaste in bed,
As pearls together billeted.
All night embracing arm in arm,
Like crystal pure with cotton warm.

XXV.

'But what is this to all the store
Of joys you see, and may make more!
Try but a while, if you be wise:
The trial neither costs, nor ties.'
Now Fairfax seek her promised faith:
Religion that dispensed hath;
Which she hence forward does begin;
The nun's smooth tongue has sucked her in.

XXVI.

Oft, though he knew it was in vain,
Yet would he valiantly complain.
'Is this that sanctity so great,
An art by which you finelier cheat
Hypocrite Witches, hence avaunt,
Who though in prison yet enchant!
Death only can such thieves make fast,
As rob though in the dungeon cast.

XXVII.

'Were there but, when this house was made,
One stone that a just hand had laid,
It must have fall'n upon her Head
Who first thee from thy faith misled.
And yet, how well soever ment,
With them 'twould soon grow fraudulent
For like themselves they alter all,
And vice infects the very wall.

XXVIII.

'But sure those buildings last not long,
Founded by folly, kept by wrong.
I know what fruit their gardens yield,
When they it think by night concealed.
Fly from their vices. 'Tis thy 'state,
Not thee, that they would consecrate.
Fly from their ruin. How I fear
Though guiltless lest thou perish there.'

XIX.

What should he do? He would respect
Religion, but not right neglect:
For first Religion taught him right,
And dazzled not but cleared his sight.
Sometimes resolved his sword he draws,
But reverenceth then the laws:
For Justice still that Courage led;
First from a judge, then soldier bred.

XXX.

Small honour would be in the storm.
The court him grants the lawful form;
Which licensed either peace or force,
To hinder the unjust divorce.
Yet still the nuns his right debarred,
Standing upon their holy guard.
Ill-counselled women, do you know
Whom you resist, or what you do?

XXXI.

Is not this he whose offspring fierce
Shall fight through all the universe;
And with successive valour try
France, Poland, either Germany;
Till one, as long since prophesied,
His horse through conquered Britain ride?
Yet, against fate, his spouse they kept;
And the great race would intercept.

XXXII.

Some to the breach against their foes
Their wooden saints in vain oppose
Another bolder stands at push
With their old holy-water brush.
While the disjointed abbess threads
The jingling chain-shot of her beads.
But their loud'st cannon were their lungs;
And sharpest weapons were their tongues.

XXXIII.

But, waving these aside like flies,
Young Fairfax through the wall does rise.
Then th'unfrequented vault appeared,
And superstitions vainly feared.
The relics false were set to view;
Only the jewels there were true.
But truly bright and holy Thwaites
That weeping at the altar waites.

XXXIV.

But the glad youth away her bears,
And to the nuns bequeaths her tears:
Who guiltily their prize bemoan,
Like gypsies that a child hath stol'n.
Thenceforth (as when th'enchantment ends
The castle vanishes or rends)
The wasting cloister with the rest
Was in one instant dispossessed.

XXXV.

At the demolishing, this seat
To Fairfax fell as by escheat.
And what both nuns and founders willed
'Tis likely better thus fulfilled,
For if the virgin proved not theirs,
The cloister yet remained hers.
Though many a nun there made her vow,
'Twas no religious house till now.

XXXVI.

From that blest bed the hero came,
Whom France and Poland yet does fame:
Who, when retired here to peace,
His warlike studies could not cease;
But laid these gardens out in sport
In the just figure of a fort;
And with five bastions it did fence,
As aiming one for ev'ry sense.

XXXVII.

When in the east the morning ray
Hangs out the colours of the day,
The bee through these known allies hums,
Beating the dian with its drums.
Then flowers their drowsy eyelids raise,
Their silken ensigns each displays,
And dries its pan yet dank with dew,
And fills its flask with odours new.

XXXVIII.

These, as their Governor goes by,
In fragrant volleys they let fly;
And to salute their Governess
Again as great a charge they press:
None for the virgin Nymph; for she
Seems with the flowers a flower to be.
And think so still! though not compare
With breath so sweet, or cheek so fair.

XXXIX.

Well shot, ye fireman! Oh how sweet,
And round your equal fires do meet;
Whose shrill report no ear can tell,
But echoes to the eye and smell.
See how the flowers, as at parade,
Under their colours stand displayed:
Each regiment in order grows,
That of the tulip, pink, and rose.

XL.

But when the vigilant patrol
Of stars walks round about the pole,
Their leaves, that to the stalks are curled,
Seem to their staves the ensigns furled.
Then in some flow'r's beloved hut
Each bee as sentinel is shut;
And sleeps so too: but, if once stirrd,
She runs you through, nor asks the word.

XLI.

Oh thou, that dear and happy isle
The garden of the world ere while,
Thou Paradise of four seas,
Which heaven planted us to please,
But, to exclude the world, did guard
With wat'ry if not flaming sword;
What luckless apple did we taste,
To make us mortal, and thee waste?

XLII.

Unhappy! Shall we never more
That sweet militia restore,
When gardens only had their towers,
And all the garrisons were flowers,
When roses only arms might bear,
And men did rosy garlands wear?
Tulips, in several colours barred,
Were then the Switzers of our guard.

XLIII.

The gard'ner had the soldier's place,
And his more gentle forts did trace.
The nursery of all things green
Was then the only magazine.
The winter quarters were the stoves,
Where he the tender plants removes.
But war all this doth overgrow:
We ordnance plant and powder sow.

XLIV.

And yet their walks one on the sod
Who, had it pleased him and God,
Might once have made our gardens spring
Fresh as his own and flourishing.
But he preferred to the Cinque Ports
These five imaginary Forts:
And, in those half-dry trenches, spanned
Power which the ocean might command.

XLV.

For he did, with his utmost skill,
Ambition weed, but conscience till.
Conscience, that heaven-nursed plant,
Which most our earthly gardens want.
A prickling leaf it bears, and such
As that which shrinks at every touch;
But flowers eternal, and divine,
That in the crowns of saints do shine.

XLVI.

The sight does from these bastions ply,
Th' invisible artillery;
And at proud Cawood Castle seems
To point the batt'ry of its beams.
As if it quarrelled in the seat
Th'ambition of its prelate great.
But o're the meads below it plays,
Or innocently seems to graze.

XLVII.

And now to the abyss I pass
Of that unfathomable grass,
Where men like grashoppers appear,
But grashoppers are giants there:
They, in there squeaking laugh, contemn
Us as we walk more low then them:
And, from the precipices tall
Of the green spires, to us do call.

XLVIII.

To see men through this meadow dive,
We wonder how they rise alive.
As, under water, none does know
Whether he fall through it or go.
But, as the mariners that sound,
And show upon their lead the ground,
They bring up flowers so to be seen,
And prove they've at the bottom been.

XLIX.

No scene that turns with engines strange
Does oft'ner then these meadows change,
For when the sun the grass hath vexed,
The tawny mowers enter next;
Who seem like Israelites to be,
Walking on foot through a green sea.
To them the grassy deeps divide,
And crowd a lane to either side.

L.

With whistling scythe, and elbow strong,
These massacre the grass along:
While one, unknowing, carves the rail,
Whose yet unfeathered quills her fail.
The edge all bloody from its breast
He draws, and does his stroke detest;
Fearing the flesh untimely mowed
To him a gate as black forebode.

LI.

But bloody Thestylis, that waites
To bring the mowing camp their cates,
Greedy as kites, has trussed it up,
And forthwith means on it to sup:
When on another quick she lights,
And cries, 'He called us Israelites;
But now, to make his saying true,
Rails rain for quails, for manna, dew.'

LII.

Unhappy birds! What does it boot
To build below the grasses root;
When lowness is unsafe as height,
And chance o'ertakes what 'scapeth spite?
And now your orphan parents call
Sounds your untimely funeral.
Death-trumpets creak in such a note,
And 'tis the sourdine in their throat.

LIII.

Or sooner hatch or higher build:
The mower now commands the field;
In whose new traverse seemeth wrought
A camp of battle newly fought:
Where, as the meads with hay, the plain
Lies quilted o're with bodies slain:
The women that with forks it fling,
Do represent the pillaging.

LIV.

And now the careless victors play,
Dancing the triumphs of the hay;
Where every mowers wholesome heat
Smells like an Alexander's sweat.
Their females fragrant as the mead
Which they in fairy circles tread:
When at their dances end they kiss,
Their new-made hay not sweeter is.

LV.

When after this 'tis piled in cocks,
Like a calm sea it shows the rocks:
We wond'ring in the river near
How boats among them safely steer.
Or, like the desert Memphis sand,
Short pyramids of hay do stand.
And such the Roman camps do rise
In hills for soldiers' obsequies.

LVI.

This scene again withdrawing brings
A new and empty face of things;
A levelled space, as smooth and plain,
As clothes for Lely stretched to stain.
The world when first created sure
Was such a table rase and pure.
Or rather such is the toril
Ere the bulls enter at Madril.

LVII.

For to this naked equal flat,
Which Levellers take pattern at,
The villagers in common chase
Their cattle, which it closer rase;
And what below the scythe increased
Is pinched yet nearer by the beast.
Such, in the painted world, appeared
Dav'nant with th'universal herd.

LVIII.

They seem within the polished grass
A landskip drawen in looking-glass.
And shrunk in the huge pasture show
As spots, so shaped, on faces do.
Such fleas, ere they approach the eye,
In multiplying glasses lie.
They feed so wide, so slowly move,
As constellations do above.

LIX.

Then, to conclude these pleasant acts,
Denton sets ope its cataracts;
And makes the meadow truly be
(What it but seemed before) a sea.
For, jealous of its Lords long stay,
It tries t'invite him thus away.
The river in itself is drowned,
And isles th'astonished cattle round.

LX.

Let others tell the paradox,
How eels now bellow in the ox;
How horses at their tails do kick,
Turned as they hang to leeches quick;
How boats can over bridges sail;
And fishes do the stables scale.
How salmons trespassing are found;
And pikes are taken in the pound.

LXI.

But I, retiring from the flood,
Take sanctuary in the wood;
And, while it lasts, my self embark
In this yet green, yet growing ark;
Where the first carpenter might best
Fit timber for his keel have pressed.
And where all creatures might have shares,
Although in armies, not in paires.

LXII.

The double wood of ancient stocks
Linked in so thick, an union locks,
It like two pedigrees appears,
On one hand Fairfax, th'other Veres:
Of whom though many fell in war,
Yet more to heaven shooting are:
And, as they Nature's cradle decked,
Will in green age her hearse expect.

LXIII.

When first the eye this forest sees
It seems indeed as wood not trees:
As if their neighbourhood so old
To one great trunk them all did mould.
There the huge bulk takes place, as ment
To thrust up a fifth element;
And stretches still so closely wedged
As if the night within were hedged.

LXIV.

Dark all without it knits; within
It opens passable and thin;
And in as loose an order grows,
As the Corinthean porticoes.
The arching boughs unite between
The columns of the temple green;
And underneath the winged choirs
Echo about their tuned fires.

LXV.

The nightingale does here make choice
To sing the trials of her voice.
Low shrubs she sits in, and adorns
With music high the squatted thorns.
But highest oaks stoop down to hear,
And list'ning elders prick the ear.
The thorn, lest it should hurt her, draws
Within the skin its shrunken claws.

LXVI.

But I have for my music found
A sadder, yet more pleasing sound:
The stock-doves whose fair necks are graced
With nuptial rings their ensigns chaste;
Yet always, for some cause unknown,
Sad pair unto the elms they moan.
O why should such a couple mourn,
That in so equal flames do burn!

LXVII.

Then as I careless on the bed
Of gelid strawberries do tread,
And through the hazels thick espy
The hatching throstle's shining eye,
The heron from the ash's top,
The eldest of its young lets drop,
As if it stork-like did pretend
That tribute to its Lord to send.

LXVIII.

But most the hewel's wonders are,
Who here has the holt-felster's care.
He walks still upright from the root,
Meas'ring the timber with his foot;
And all the way, to keep it clean,
Doth from the bark the woodmoths glean.
He, with his beak, examines well
Which fit to stand and which to fell.

LXIX.

The good he numbers up, and hacks;
As if he marked them with the axe.
But where he, tinkling with his beak,
Does find the hollow oak to speak,
That for his building he designs,
And through the tainted side he mines.
Who could have thought the tallest oak
Should fall by such a feeble stroke!

LXX.

Nor would it, had the tree not fed
A traitor-worm, within it bred.
(As first our flesh corrupt within
Tempts impotent and bashful Sin.
And yet that worm triumphs not long,
But serves to feed the hewel's young.
While the oak seems to fall content,
Viewing the treason's punishment.

LXXI.

Thus I, easy philosopher,
Among the birds and trees confer:
And little now to make me, wants
Or of the fowls, or of the plants.
Give me but wings as they, and I
Straight floating on the air shall fly:
Or turn me but, and you shall see
I was but an inverted tree.

LXXII.

Already I begin to call
In their most learned original:
And where I language want, my signs
The bird upon the bough divines;
And more attentive there doth sit
Then if she were with lime-twigs knit.
No leaf does tremble in the wind
Which I returning cannot find.

LXXIII.

Out of these scattered sibyl's leaves
Strange prophecies my fancy weaves:
And in one history consumes,
Like Mexique paintings, all the plumes.
What Rome, Greece, Palestine, ere said
I in this light mosaic read.
Thrice happy he who, not mistook,
Hath read in Nature's mystic book.

LXXIV.

And see how Chance's better wit
Could with a masque my studies hit!
The oak-leaves me embroider all,
Between which caterpillars crawl:
And ivy, with familiar trails,
Me licks, and clasps, and curls, and hales.
Under this antic cope I move
Like some great prelate of the grove,

LXXV.

Then, languishing with ease, I toss
On pallets swoll'n of velvet moss;
While the wind, cooling through the boughs,
Flatters with air my panting brows.
Thanks for my rest ye mossy banks,
And unto you cool zephyrs thanks,
Who, as my hair, my thoughts too shed,
And winnow from the chaff my head.

LXXVI.

How safe, methinks, and strong, behind
These trees have I encamped my mind;
Where Beauty, aiming at the heart,
Bends in some tree its useless dart;
And where the world no certain shot
Can make, or me it toucheth not.
But I on it securely play,
And gaul its horsemen all the day.

LXXVII.

Bind me ye woodbines in your twines,
Curl me about ye gadding vines,
And oh so close your circles lace,
That I may never leave this place:
But, lest your fetters prove too weak,
Ere I your silken bondage break,
Do you, O brambles, chain me too,
And courteous briars nail me though.

LXXVIII.

Here in the morning tie my chain,
Where the two woods have made a lane;
While, like a guard on either side,
The trees before their Lord divide;
This, like a long and equal thread,
Betwixt two labyrinths does lead.
But, where the floods did lately drown,
There at the evening stake me down.

LXXIX.

For now the waves are fall'n and dried,
And now the meadow's fresher dyed;
Whose grass, with moister colour dashed,
Seems as green silks but newly washed.
No serpent new nor crocodile
Remains behind our little Nile;
Unless itself you will mistake,
Among these meads the only snake.

LXXX.

See in what wanton harmless folds
It ev'rywhere the meadow holds;
And its yet muddy back doth lick,
Till as a crystal mirror slick;
Where all things gaze themselves, and doubt
If they be in it or without.
And for his shade which therein shines,
Narcissus-like, the sun too pines.

LXXXI.

Oh what a pleasure 'tis to hedge
My temples here with heavy sedge;
Abandoning my lazy side,
Stretched as a bank unto the tide;
Or to suspend my sliding foot
On th'osiers undermined root,
And in its branches tough to hang,
While at my lines the fishes twang!

LXXXII.

But now away my hooks, my quills,
And angles, idle utensils.
The young Maria walks tonight:
Hide trifling youth thy pleasures slight.
'Twere shame that such judicious eyes
Should with such toys a man surprise;
She that already is the law
Of all her sex, her age's Aw.

LXXXIII.

See how loose Nature, in respect
To her, itself doth recollect;
And ever thing so whisht and fine,
Starts forthwith to its bonne mine.
The sun himself, of her aware,
Seems to descend with greater care,
And lest she see him go to bed,
In blushing clouds conceales his head.

LXXXIV.

So when the shadows laid asleep
From underneath these banks do creep,
And on the river as it flows
With ebon shuts begin to close;
The modest halcyon comes in sight,
Flying betwixt the day and night;
And such an horror calm and dumb,
Admiring Nature does benumb.

LXXXV.

The viscous air, wheres'e're she fly,
Follows and sucks her azure dye;
The jellying stream compacts below,
If it might fix her shadow so;
The stupid fishes hang, as plain
As flies in crystal overta'ne,
And men the silent scene assist,
Charmed with the sapphire-winged mist.

LXXXVI.

Maria such, and so doth hush
The world, and through the ev'ning rush.
No new-born comet such a train
Draws through the sky, nor star new-slain.
For straight those giddy rockets fail,
Which from the putrid earth exhale,
But by her flames, in heaven tried,
Nature is wholly vitrified.

LXXXVII.

'Tis she that to these gardens gave
That wondrous beauty which they have;
She straightness on the woods bestows;
To her the meadow sweetness owes;
Nothing could make the river be
So crystal-pure but only she;
She yet more pure, sweet, straight, and fair,
Than gardens, woods, meads, rivers are.

LXXXVIII.

Therefore what first she on them spent,
They gratefully again present.
The meadow carpets where to tread;
The garden flowers to crown her head;
And for a glass the limpid brook,
Where she may all her beauties look;
But, since she would not have them seen,
The wood about her draws a screen.

LXXXIX.

For she, to higher beauties raised,
Disdains to be for lesser praised.
She counts her beauty to converse
In all the languages as hers;
Not yet in those her self employes
But for the wisdom, not the noise;
Nor yet that wisdom would affect,
But as 'tis heaven's dialect.

LXXX.

Blest Nymph! that couldst so soon prevent
Those trains by youth against thee meant;
Tears (wat'ry shot that pierce the mind;)
And sighs (Love's cannon charged with wind;)
True praise (that breaks through all defence;)
And feigned complying innocence;
But knowing where this ambush lay,
She 'scaped the safe, but roughest way.

LXXXXI.

This 'tis to have been from the first
In a domestic heaven nursed,
Under the discipline severe
Of Fairfax, and the starry Vere;
Where not one object can come nigh
But pure, and spotless as the eye;
And goodness doth it self entail
On females, if there want a male.

LXXXXII.

Go now fond sex that on your face
Do all your useless study place,
Nor once at vice your brows dare knit
Lest the smooth forehead wrinkled sit
Yet your own face shall at you grin,
Thorough the black-bag of your skin;
When knowledge only could have filled
And virtue all those furrows tilled.

LXXXXIII.

Hence she with graces more divine
Supplies beyond her sex the line;
And, like a sprig of mistletoe,
On the Fairfacian oak does grow;
Whence, for some universal good,
The priest shall cut the sacred bud;
While her glad parents most rejoice,
And make their destiny their choice.

LXXXXIV.

Meantime ye fields, springs, bushes, flowers,
Where yet she leads her studious hours,
(Till Fate her worthily translates,
And find a Fairfax for our Thwaites)
Employ the means you have by her,
And in your kind yourselves prefer;
That, as all virgins she preceds,
So you all woods, streams, gardens, meads.

LXXXXV.

For you Thessalian Tempe's seat
Shall now be scorned as obsolete;
Aranjuez, as less, disdained;
The Bel-Retiro as constrained;
But name not the Idalian Grove,
For 'twas the seat of wanton love;
Much less the dead's Elysian fields,
Yet nor to them your beauty yields.

LXXXXVI.

'Tis not, what once it was, the world;
But a rude heap together hurled;
All negligently overthrown,
Gulfs, deserts, precipices, stone.
Your lesser world contains the same.
But in more decent order tame;
You, heaven's center, Nature's Lap.
And Paradise's only map.

LXXXVII.

But now the salmon-fishers moist
Their leathern boats begin to hoist;
And, like Antipodes in shoes,
Have shod their heads in their canoes.
How tortoise-like, but not so slow,
These rational amphibii go?
Let's in: for the dark hemisphere
Does now like one of them appear.

—Andrew Marvell (1621-1678), "Upon Appleton House, To My Lord Fairfax," generally agreed to have been written sometime in the summer of 1651. Spelling modernization and editing courtesy of The Poems of Andrew Marvell, edited by Nigel Smith, revised edition (Longman, 2007). (I did think about just copying and pasting from the Virginia EText, but in this case I really do prefer the 21st century spelling and punctuation.)

Wednesday, April 17, 2013

study our manuscripts

Have you guys noticed that there has been a really distinct lack of sonnets around here, this month? This is still not a sonnet. In fact, there are no (formal) sonnets in all of Donne's "Songs and Sonnets." Donne reserves the actual sonnet form -- associated inevitably with sex and romance, and with thanks to Petrarch (that's an oversimplification, but the point stands) -- to talk to God. I mean, wouldn't you?

I'll tell thee now (dear love) what thou shalt do
To anger destiny, as she doth us,
How I shall stay, though she esloygne me thus,
And how posterity shall know it too;
How thine may out-endure
Sibyl's glory, and obscure
Her who from Pindar could allure,
And her, through whose help Lucan is not lame,
And her, whose book (they say) Homer did find, and name.

Study our manuscripts, those myriads
Of letters, which have past 'twixt thee and me,
Thence write our annals, and in them will be
To all whom love's subliming fire invades,
Rule and example found;
There the faith of any ground
No schismatique will dare to wound,
That sees, how Love this grace to us affords,
To make, to keep, to use, to be these his records.

This book, as long-lived as the elements,
Or as the world's form, this all-graved tome
In cypher writ, or new made idiom;
We for Love's clergy only are instruments,
When this book is made thus,
Should again the ravenous
Vandals and Goths invade us,
Learning were safe; in this our universe,
Schools might learn sciences, spheres music, angels verse.

Here Love's Divines—since all divinity
Is love or wonder—may find all they seek,
Whether abstract spiritual love they like,
Their souls exhaled with what they do not see,
Or, loth so to amuse
Faith's infirmity, they choose
Something which they may see and use;
For, though mind be the heaven, where love doth sit,
Beauty a convenient type may be to figure it.

Here more than in their books may lawyers find,
Both by what titles mistresses are ours,
And how prerogative these states devours,
Transferr'd from Love himself, to womankind,
Who, though from heart and eyes,
They exact great subsidies,
Forsake him who on them relies;
And for the cause, honour, or conscience give,
Chimeras, vain as they, or their prerogative.

Here statesmen (or of them, they which can read),
May of their occupation find the grounds,
Love and their art alike it deadly wounds,
If to consider what 'tis, one proceed.
In both they do excel
Who the present govern well,
Whose weakness none doth, or dares tell;
In this thy book, such will there something see,
As in the Bible some can find out alchemy.

Thus vent thy thoughts; abroad I'll study thee,
As he removes far off, that great heights takes;
How great love is, presence best trial makes,
But absence tries how long this love will be;
To take a latitude
Sun, or stars, are fitliest view'd
At their brightest, but to conclude
Of longitudes, what other way have we,
But to mark when, and where the dark eclipses be?

—John Donne (1572-1631), "Valediction to his Book," from "Songs and Sonnets," first published in print in the Poems of 1633. I made some slightly random editorial decisions about punctuation and orthography. One of these days I'll post a satire or a verse letter, but I really fucking love the songs and sonnets. Even if none of them are sonnets.

Friday, April 12, 2013

by a sunne-beam

I have been reading George Herbert all day. I love George Herbert, and I am not even a little bit sorry. If George Herbert was a My Little Pony, he would be in a television show called "My Little Herbert: God is Magic" and he would probably be a unicorn, and his cutie mark would be a picture of a book inside a heart inside a church. I was initially going to post one of Herbert's sonnets about scriptural hermeneutics, tonight, but then I got distracted by sunbeams -- possibly because it was raining; anyway, the idea is that if I am very lucky, posting this poem tonight may mean that I will get up early and be awesomely productive tomorrow (because this is, on some level, very much a poem about how hard it is to get up in the morning). That's the plan, anyway, because I have a lot of work to do this weekend. Help me, George Herbert, you're -- wait, no, wrong story.

            I cannot ope mine eyes,
      But thou art ready there to catch
      My morning-soul and sacrifice:
Then we must needs for that day make a match.

            My God, what is a heart?
      Silver, or gold, or precious stone,
      Or starre, or rainbow, or a part
Of all these things, or all of them in one?

            My God, what is a heart,
      That thou shouldst it so eye, and wooe,
      Powring upon it all thy art,
As if that thou hadst nothing els to do?

            Indeed mans whole estate
      Amounts (and richly) to serve thee:
      He did not heav'n and earth create,
Yet studies them, not him by whom they be.

            Teach me thy love to know;
      That this new light, which now I see,
      May both the work and workman show:
Then by a sunne-beam I will climbe to thee.

—George Herbert (1593-1633), "Mattens" from The Temple, published posthumously in print in 1633. There is a better than average chance that I am going to write a whole dissertation chapter on George Herbert and the publication of The Temple and how friendship is magic.