Written by
Dylan Thomas |
A Letter To My Aunt Discussing The Correct Approach To Modern Poetry
To you, my aunt, who would explore
The literary Chankley Bore,
The paths are hard, for you are not
A literary Hottentot
But just a kind and cultured dame
Who knows not Eliot (to her shame).
Fie on you, aunt, that you should see
No genius in David G.,
No elemental form and sound
In T.S.E. and Ezra Pound.
Fie on you, aunt! I'll show you how
To elevate your middle brow,
And how to scale and see the sights
From modernist Parnassian heights.
First buy a hat, no Paris model
But one the Swiss wear when they yodel,
A bowler thing with one or two
Feathers to conceal the view;
And then in sandals walk the street
(All modern painters use their feet
For painting, on their canvas strips,
Their wives or mothers, minus hips).
Perhaps it would be best if you
Created something very new,
A dirty novel done in Erse
Or written backwards in Welsh verse,
Or paintings on the backs of vests,
Or Sanskrit psalms on lepers' chests.
But if this proved imposs-i-ble
Perhaps it would be just as well,
For you could then write what you please,
And modern verse is done with ease.
Do not forget that 'limpet' rhymes
With 'strumpet' in these troubled times,
And commas are the worst of crimes;
Few understand the works of Cummings,
And few James Joyce's mental slummings,
And few young Auden's coded chatter;
But then it is the few that matter.
Never be lucid, never state,
If you would be regarded great,
The simplest thought or sentiment,
(For thought, we know, is decadent);
Never omit such vital words
As belly, genitals and -----,
For these are things that play a part
(And what a part) in all good art.
Remember this: each rose is wormy,
And every lovely woman's germy;
Remember this: that love depends
On how the Gallic letter bends;
Remember, too, that life is hell
And even heaven has a smell
Of putrefying angels who
Make deadly whoopee in the blue.
These things remembered, what can stop
A poet going to the top?
A final word: before you start
The convulsions of your art,
Remove your brains, take out your heart;
Minus these curses, you can be
A genius like David G.
Take courage, aunt, and send your stuff
To Geoffrey Grigson with my luff,
And may I yet live to admire
How well your poems light the fire.
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Written by
Henry Wadsworth Longfellow |
In the ancient town of Bruges,
In the quaint old Flemish city,
As the evening shades descended,
Low and loud and sweetly blended,
Low at times and loud at times,
And changing like a poet's rhymes,
Rang the beautiful wild chimes
From the Belfry in the market
Of the ancient town of Bruges.
Then, with deep sonorous clangor
Calmly answering their sweet anger,
When the wrangling bells had ended,
Slowly struck the clock eleven,
And, from out the silent heaven,
Silence on the town descended.
Silence, silence everywhere,
On the earth and in the air,
Save that footsteps here and there
Of some burgher home returning,
By the street lamps faintly burning,
For a moment woke the echoes
Of the ancient town of Bruges.
But amid my broken slumbers
Still I heard those magic numbers,
As they loud proclaimed the flight
And stolen marches of the night;
Till their chimes in sweet collision
Mingled with each wandering vision,
Mingled with the fortune-telling
Gypsy-bands of dreams and fancies,
Which amid the waste expanses
Of the silent land of trances
Have their solitary dwelling;
All else seemed asleep in Bruges,
In the quaint old Flemish city.
And I thought how like these chimes
Are the poet's airy rhymes,
All his rhymes and roundelays,
His conceits, and songs, and ditties,
From the belfry of his brain,
Scattered downward, though in vain,
On the roofs and stones of cities!
For by night the drowsy ear
Under its curtains cannot hear,
And by day men go their ways,
Hearing the music as they pass,
But deeming it no more, alas!
Than the hollow sound of brass.
Yet perchance a sleepless wight,
Lodging at some humble inn
In the narrow lanes of life,
When the dusk and hush of night
Shut out the incessant din
Of daylight and its toil and strife,
May listen with a calm delight
To the poet's melodies,
Till he hears, or dreams he hears,
Intermingled with the song,
Thoughts that he has cherished long;
Hears amid the chime and singing
The bells of his own village ringing,
And wakes, and finds his slumberous eyes
Wet with most delicious tears.
Thus dreamed I, as by night I lay
In Bruges, at the Fleur-de-Ble,
Listening with a wild delight
To the chimes that, through the night
Bang their changes from the Belfry
Of that quaint old Flemish city.
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Written by
Sidney Lanier |
I knowed a man, which he lived in Jones,
Which Jones is a county of red hills and stones,
And he lived pretty much by gittin' of loans,
And his mules was nuthin' but skin and bones,
And his hogs was flat as his corn-bread pones,
And he had 'bout a thousand acres o' land.
This man -- which his name it was also Jones --
He swore that he'd leave them old red hills and stones,
Fur he couldn't make nuthin' but yallerish cotton,
And little o' THAT, and his fences was rotten,
And what little corn he had, HIT was boughten
And dinged ef a livin' was in the land.
And the longer he swore the madder he got,
And he riz and he walked to the stable lot,
And he hollered to Tom to come thar and hitch
Fur to emigrate somewhar whar land was rich,
And to quit raisin' cock-burrs, thistles and sich,
And a wastin' ther time on the cussed land.
So him and Tom they hitched up the mules,
Pertestin' that folks was mighty big fools
That 'ud stay in Georgy ther lifetime out,
Jest scratchin' a livin' when all of 'em mought
Git places in Texas whar cotton would sprout
By the time you could plant it in the land.
And he driv by a house whar a man named Brown
Was a livin', not fur from the edge o' town,
And he bantered Brown fur to buy his place,
And said that bein' as money was skace,
And bein' as sheriffs was hard to face,
Two dollars an acre would git the land.
They closed at a dollar and fifty cents,
And Jones he bought him a waggin and tents,
And loaded his corn, and his wimmin, and truck,
And moved to Texas, which it tuck
His entire pile, with the best of luck,
To git thar and git him a little land.
But Brown moved out on the old Jones' farm,
And he rolled up his breeches and bared his arm,
And he picked all the rocks from off'n the groun',
And he rooted it up and he plowed it down,
Then he sowed his corn and his wheat in the land.
Five years glid by, and Brown, one day
(Which he'd got so fat that he wouldn't weigh),
Was a settin' down, sorter lazily,
To the bulliest dinner you ever see,
When one o' the children jumped on his knee
And says, "Yan's Jones, which you bought his land."
And thar was Jones, standin' out at the fence,
And he hadn't no waggin, nor mules, nor tents,
Fur he had left Texas afoot and cum
To Georgy to see if he couldn't git sum
Employment, and he was a lookin' as hum-
Ble as ef he had never owned any land.
But Brown he axed him in, and he sot
Him down to his vittles smokin' hot,
And when he had filled hisself and the floor
Brown looked at him sharp and riz and swore
That, "whether men's land was rich or poor
Thar was more in the MAN than thar was in the LAND."
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