Ars Poetica Poetry

Write a poem about poetry.
The Unwritten
Inside this pencil
crouch words that have never been written
never been spoken
never been taught

they're hiding

they're awake in there
dark in the dark
hearing us
but they won't come out
not for love for time for fire

even when the dark has worn away
they'll still be there
hiding in the air
multitudes in days to come may walk through them
breathe them
be none the wiser

what script can it be
that they won't unroll
in what language
would I recognize it
would I be able to follow it
to make out the real names
of everything

maybe there aren't
many
it could be that there's only one word
and it's all we need
it's here in this pencil
every pencil in the world
is like this

- W.S. Merwin
Check out the following link:

www.poets.org/viewmedia.php/prmMID/20035
 See W. S. Merwin
www.youtube.com/watch?v=xZCejTDdr6E 

W. S. Merwin and Naomi Shihab Nye--Negative Capability--"I don't know"
www.youtube.com/watch?v=8aNeNNtPQWc&feature=related 

Poet Laureates of the United States--currently Philip Levine
en.wikipedia.org/wiki/United_States_Poet_Laureate


More readings from contemporary poets.

WRITING CONTESTS

Bennington Contest:

www.bennington.edu/NewsEvents/YoungWritersCompetition/YW_Submission.aspx

Nancy Thorpe contest:

www.hollins.edu/academics/english/thorp.shtml

Young Arts:

www.youngarts.org/apply

www.pomegranatewords.com/magazine/teen_writing_contests.html

Reading Poets

Today you will be reading two poems from your poet's book of poems and telling the class about your selected poet.

Period 2 we will go down to the library to continue to work on poems and conference.

Remember that next Friday, once again, you have 5 new "poems in progress" to turn in.  You may also include revisions of earlier poems by handing in the original version and the new one.

Shoveling Snow with Buddha/Fears/ Phobia Poems

Remember to read your poetry book for Friday and select two poems by the poet to read to the class.  Also, introduce your poet to the class, describing his/her background and overall nature/style of writing. Shoveling Snow With Buddha

In the usual iconography of the temple or the local Wok you would never see him doing such a thing, tossing the dry snow over a mountain of his bare, round shoulder, his hair tied in a knot, a model of concentration. Sitting is more his speed, if that is the word for what he does, or does not do. Even the season is wrong for him. In all his manifestations, is it not warm or slightly humid? Is this not implied by his serene expression, that smile so wide it wraps itself around the waist of the universe? But here we are, working our way down the driveway, one shovelful at a time. We toss the light powder into the clear air. We feel the cold mist on our faces. And with every heave we disappear and become lost to each other in these sudden clouds of our own making, these fountain-bursts of snow. This is so much better than a sermon in church, I say out loud, but Buddha keeps on shoveling. This is the true religion, the religion of snow, and sunlight and winter geese barking in the sky, I say, but he is too busy to hear me. He has thrown himself into shoveling snow as if it were the purpose of existence, as if the sign of a perfect life were a clear driveway you could back the car down easily and drive off into the vanities of the world with a broken heater fan and a song on the radio. All morning long we work side by side, me with my commentary and he inside his generous pocket of silence, until the hour is nearly noon and the snow is piled high all around us; then, I hear him speak. After this, he asks, can we go inside and play cards? Certainly, I reply, and I will heat some milk and bring cups of hot chocolate to the table while you shuffle the deck. and our boots stand dripping by the door. Aaah, says the Buddha, lifting his eyes and leaning for a moment on his shovel before he drives the thin blade again deep into the glittering white snow.  Link: www.youtube.com/watch?v=gCrDVIfoKYY

Six S's/ Baggage Switch Exercise

Line breaking:

Speed:  Short or long?  Enjambed or end-stopped?

Sound:  Rhyme emphasized?  Emphasize or de-emphasize rhythm?

Syntax:  Does the poem have line breaks that are compatible with its syntactical units?  Where are prepositions placed--at the beginning or end?  If the line breaks are unconventional, what is the effect?

Surprise: When a line breaks at an unexpected place, what is the effect?  What is the strongest position for a word?

Sense: Do the line breaks add to the overall meaning or sense of the poem?  Do they further its argument (logical or sound sense)?

Space:  Do the line breaks represent the timing of the poem?  What do you gather about the poem based on its appearance?  Does the creation of stanzas organize the space of the poem?

Ask Me

Some time when the river is ice ask me mistakes I have made. Ask me whether what I have done is my life. Others have come in their slow way into my thought, and some have tried to help or to hurt: ask me what difference their strongest love or hate has made. I will listen to what you say. You and I can turn and look at the silent river and wait. We know the current is there, hidden; and there are comings and goings from miles away that hold the stillness exactly before us. What the river says, that is what I say. William Stafford

Baggage Switch Exercise:

Make a list of all the verbs used in one of your poems.

Swap your list with a partner.

Replace the verbs in your poem with some verbs from the list you receive.  You can change the tense and number.

DO NOT MERELY CHOOSE SYNONYMS.  LOOK FOR SURPRISING JUXTAPOSITIONS.  FOCUS ON WORD CHOICE (DICTION)!

Ekphrastic poem William Carlos Williams "The Dance"

Note how Wiliams' poem mimics the rhythms of the dance...

William Carlos Williams

The Dance

In Brueghel's great picture, The Kermess,
the dancers go round, they go round and
around, the squeal and the blare and the
tweedle of bagpipes, a bugle and fiddles
tipping their bellies (round as the thick-
sided glasses whose wash they impound)
their hips and their bellies off balance
to turn them. Kicking and rolling
about the Fair Grounds, swinging their butts, those
shanks must be sound to bear up under such
rollicking measures, prance as they dance
in Brueghel's great picture, The Kermess.

Random Connections/Word tickets

Participants break into groups of two.  Without consulting each other, one person should come up with a "Why?"  The other should come up with a "because".  Some of the links work beautifully.  Others are bizarre, but they might work even more beautifully.

Try the exercise with if/then and I used to/but now.

Some examples:

Why do I see the things in your eyes?
Because the TV is on.

Why do I have to grow up.
Because you broke it.

I used to be afraid of the dark,
But now I can't see a thing.

I used to fall in love at the drop of a pin,
But now I sleep with my eyes open.


WORD Tickets
On the back of the tickets write some wonderful words for poetry:
Provocative nouns, crackling verbs, resplendent adjectives,  etc.
Place the tickets in the basket.  Draw out 10 new tickets and try to use them in a poem!

Week of 9/12 and 9/14

View video of the Power of Words

Continue to work on poems--DUE FRIDAY, 5 typed exercises (poems) for workshop next week and two week participation grade.  Be sure the poems reflect a sincere effort using the prompts.  We all expect that the poems are not completely finished and will be revised as the marking period continues.  The point is to see the potential in your poetry this year and to successfully learn to revise and shape your poems using effective language and imagery.  So, your best effort always!

Also, for Monday, read Ch. 6-10 in text book Poetry Writing.  Any ideas from these exercises?

Workshop/New poems

Share Ekphrastic poems.

Go over Ch. 1-5 in Poetry Writing.

Work with new prompts.

Poetry Prompts

Poetry Writing Exercises from The Poetry Resource Page www.poetryresourcepage.com/teach/pex.html

WRITING EXERCISES: POETRY

Alliteration Exercise Make a list of twenty phrases that use alliteration, such as the sun settled on the south hill with sudden color. Pick two or three of these phrases and try to build images around them. Use at least one of these images in a poem. Body Exercise Make a list of fifteen physical experiences that you’ve had, such as falling out of a tree, riding a roller coaster, or jumping on a trampoline. Choose one from your list and use images to create a lyric poem about the experience. (by Jay Klokker, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Body Part Exercise Write a poem addressed to a particular body part. Make sure you maintain a consistent tone and focus. Childhood Exercise Try to remember everything you can about a particular event that occurred when you were a child. In can be any type of experience, now matter how insignificant. Make a list of all the details you can remember. Once you’ve finished your list, build a narrative poem around it. Keep in mind that you don’t have to be faithful to the past. You can change details, descriptions, or actions if the change will make the poem work better. Circular Poem Write a short poem that begins and ends with the same line. The reader should feel differently about the line the second time around because of what has happened in the poem. Confession Exercise Write a poem in which you confess to a crime you didn’t commit. You can create the circumstances – perhaps you’re talking to a priest, or you’re being interrogated by police. Turn your confession into a narrative poem in which you describe the events leading up to your crime. Construction Exercise Write a poem in which you literally build or take apart something for the reader. Describe each step of the process for the reader, incorporating technical terms and descriptions of materials. Create a lyric or narrative poem that “shows” the reader how it’s done. (by Deborah Digges, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Crime Exercise Write a “confession” poem detailing an emotional crime and how you committed it. OR Write a poem in the voice of a murderer. Make the reader sympathetic to the murderer. Death Exercise Freewrite about the first experience with death you can remember, whether it involved a person or an animal. Then freewrite about your most recent experience with death. Combine the details, memories, and images from the two into a lyric or narrative poem. Dream Exercise Many people have recurring dreams – of flying, of being chased, of being in a particular location or situation. Write a poem about such a dream that uses repetition to capture its obsessive nature. Try to repeat fragments rather than simply initial words or complete sentences; let the repetition interrupt the flow of the dream-story. Dying Exercise Write a poem in which you speak after your own death. In it, describe what death looks and feels like. Describe how it feels to be conscious at the time of death, what your emotions are. Give advice to the living about how they should face death. Elegy Exercise Using the third person, write an elegy poem for yourself, imaging that you’ve just died at the age of ninety. Include a description of yourself, and things that you would like to be remembered for/by. You may want to include places you’ve been, inventions you’ve created, famous people you’ve met, your talent for singing or dancing or cooking, your favorite book or movie or color, where you had your first kiss, what you did for a living, how many times you were married, how many children you had, all the states or countries you’ve lived in, etc. Endless Exercise Write a poem of about thirty lines that consists of a single sentence. Experiment with clauses and phrases and parallel structure. Try to keep the sentence moving forward, enjambing it across lines in different ways, while making sure it is grammatically correct. This type of exercise will help you develop flexibility as a writer, teaching you new ways to phrase things and new ways to play with the syntax of a line. (by Richard Jackson, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Erotic Exercise Brainstorm a list of everyday activities, such as washing the dishes, chopping vegetables, mowing the lawn, going grocery shopping, etc. Choose one and describe it in precise detail, focusing on every action it requires, all the little sensory moments involved. Take all of these details and images and use them to write a lyric poem in which you make some everyday experience sound erotic. OR Choose a landscape to describe. It can be any kind of landscape, but try something nontraditional – a junkyard or an empty parking lot. Use your descriptions and images to write a lyric poem in which you make the landscape seem erotic. Good and Evil Exercise The traditional imagery for good and evil is light and dark, white and black. Brainstorm a list of images called up by the two opposites. Then write a poem that reverses traditional expectations. In other words, write a poem about what is beautiful or inspiring about the dark, or a poem about what is awful or terrifying about the daylight. Fairy Tale Exercise Write a lyric poem in which you adopt the persona of a character from a fairy tale. For example, you could describe the way Snow White feels while she sleeps inside her coffin, or how the Prince feels as he holds Cinderella’s glass slipper in his hand. False Memory Exercise Write a poem in which you “remember” something that never happened. Use strong sensory images to convince the reader it really happened. Family Exercise Write a poem in which you adopt the persona of a parent or grandparent. Write the poem in the form of a letter addressed to your significant other. Describe your feelings for this person, the way they look and smell, memories that you have of them, where or how you met, etc. Fear Exercise Think of something you were afraid of as a child. Write a poem in which you describe what it was and how it made you feel. You can write from the point of view of an older person looking back on it, or you can write from the point of view of the child you once were. Field Guide Exercise Read the descriptions in a book of natural history or a field guide, such as a guide to birds, mushrooms, or wildflowers. Write a poem about a plant, bird, rock, animal, or fish from the book. Incorporate information from the book in the poem to help the reader identify your subject. First Line Exercise Take one line from a poem of your own that is unfinished or a poem by another poet. It does not matter where the line occurs in the poem, but you want to select the best line from the poem. Use this line as the first line of a new poem. Try to maintain the same quality of sound, language and thought that the first line presents. (by Stephen Dunn, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Foreign Objects Exercise Many poems arise out of everyday life – something you may have walked or driven by a hundred times and suddenly noticed for the first time. Part of learning to write poetry is learning to look around and observe both the ordinary and the unusual. Exercise: Spend half an hour walking around outside (on campus or in a parking lot, for example). Pay attention to the objects you see. Make a list of five “foreign objects” (such as a Band-aid stuck to a stop sign or a scarf hanging from a tree). Once you’ve made your list, try to imagine the story behind the object – how it ended up where you found it. Build a narrative poem around the object. OR Describe the scene in great detail – the landscape surrounding the object, then the object itself. Build a lyric poem around the object. Function Exercise Choose one object in your room and make a list of all of the ways you could use it, or all of the things you could do with it. For example, a glass can be used to drink from, to pour from, to collect rain water, to turn upside town and catch a fly under, etc. Turn your list of functions into a lyric poem, using the object as the title. (by Jack Myers, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Gesture Exercise Spend twenty minutes observing people in a public place. Make a list of the gestures that people make, no matter how subtle. For example, the way a child twirls her hair around a finger, or the way a woman tucks loose strands of hair behind one ear. Choose one gesture and describe its motions in great detail. Build a poem around this moment and what you think it tells you about the person. God Exercise Write a poem to God. Make it a tirade, a complaint, a request. OR Write a poem as God. Let God explain, refute, deny, defend. OR Write a poem in which God is a traffic cop, a new anchor, a porn star, a grocery clerk. Hands-on Exercise Choose half a dozen small objects from around the house (like a fork, a toothbrush, or a stapler). Close your eyes and run your hands over each object. Write a description of what the object feels like, and how you think it looks. Use metaphor and simile to compare the feel or shape of the object to something else. When you have written descriptions for each of the objects, choose one to write a poem about. Describe the poem in such a way that a blind person could tell what it looks like. History Exercise The poet James Merrill wrote “we understand history through the family around the table.” Think about ways your own family’s story overlaps with the story of others – a historical event, an ethnic group, a social issue. Write a poem about someone in your family and how his or her story is related to history. (based on an exercise by David Wojahn, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Home Exercise Think about your childhood home, recalling the inside (hallways, rooms, closets, etc.) and the outside (the front yard, back yard, trees, swing sets, etc.). Focus on a place inside or out that was special to you. Describe the time you spent there, the things you did, the discoveries you made, the emotions you felt, why you went there, etc. Imitation Exercise Find a contemporary poem that you admire. Write a poem in which you imitate the style, tone, theme, sentence structure, etc. of the original poem. You may want to borrow the poem’s first line and use it to write a poem of your own. You may want to write on a similar topic – a childhood memory, describing an everyday object, providing a narrative for a photograph, etc. Inanimate Object Exercise Choose one inanimate object in your room. Describe what it looks like, and describe the room around it. When you’ve finished your descriptions, write a poem in which you adopt the persona of the inanimate object: what does it think, what does it feel, what does it look out at day after day after day, etc. Interior Monologue Exercise Write a poem in which you adopt the persona of someone famous (they can be dead or alive). Imagine this person sitting alone, looking out over the Grand Canyon at sunrise, reflecting on his or her life. Write a poem in which you convey this person’s character through his or her internal thoughts. Isolation Exercise Write a description pf one particular element of a set. For example, you can describe one book on a shelf, one face in a crowd, one bird on a telephone line, etc. Try to describe both the characteristics of the group/set, and to distinguish what makes the one member you’re focusing on different from the others. Turn your description into a lyric poem. (by Michael Pettit, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Landscape Exercise Go somewhere scenic – to a park or a lake, for example. Describe the landscape that surrounds you using sight, sound, smell, and tactile images. Build a lyric poem out of these images. OR Go somewhere urban – downtown Chicago or St. Louis, for example. Describe the landscape of the city using sight, sound, smell, and tactile images. Build a lyric poem out of these images. Letter Exercise Write a poem in the form of a letter to someone who is dead. In it, make a confession about something you did to them when they were still alive. OR Write a poem in the form of a letter imagining that you are dead. In it, tell them something you meant to tell them while you were still alive. (based on an exercise by Robin Behn, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Life or Death Exercise Write a lyric poem in which you describe yourself being born. Describe what it feels like inside the birth canal, what it feels like as you push your way out, what you see, smell, hear or taste, etc. OR Write a lyric poem in which you describe the moment of your death. Describe how you feel as you take your last breath. Describe the last thing you see, hear, touch, taste, smell or feel. Describe who is with you, where you’re at, etc. Metaphor Exercise Take something negative about yourself – an abstract concept, like fear, depression, hatred, loneliness, or cruelty – and find a concrete image for what it feels like. Maybe it feels like a weight pressing down on your, like walking down a dark street at night, or waking up in an abandoned house. Once you decide on a topic and an image, draw out the image in a lyric poem with the topic as your title. Newspaper Exercise Read the newspaper. Pick one story from the paper, and write a poem in which you take on the persona of someone involved in the story. Write a narrative poem in which you tell the story from that person’s point of view. (based on an exercise by Mary Swander, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Opening Lines Exercise Below are the opening lines from some short stories and novels. Pick one that interests you and see what kind of poem it generates: Come into my cell. Make yourself at home. Night fell. The darkness was thin, like some sleazy dress that has been worn and worn. There is an evil moment on awakening when all things seem to pause. It was a pleasure to burn. It was a special pleasure to see things eaten, to see things blackened and changed. “Notice the sensuous curve of the breast.” God help me. She lay in the dark and cried. The big house was still, almost empty. (from Writing Poems , Robert Wallace and Michelle Boisseau, eds.) Personals Exercise Write a persona poem in which you take on the personality of an older, single adult of the opposite gender. Write a poem in the form of a personals ad in which you describe yourself and your interests, and then describe the type of man or woman you would be interested in dating. Personification Exercise Look around your bedroom, kitchen, living room, or bathroom. Make a list of objects that seem to have moods or personalities. Choose five of them and create a description of each one’s personality or mood. Pick one of your descriptions and build a poem around it. Pet Exercise Write a persona poem from the point-of-view of your pet. Describe your environment, your day-to-day activities, the food you eat, where you sleep, where you use the restroom, the toys you play with, what you think about, the way your owner behaves, etc. Photograph Exercise Look through an old family album. Find a picture that you’re not in and write a lyric poem that describes the person and/or scene. OR Look through a book of historical photographs. Write a lyric or narrative poem based on the person and/or scene. Picturing Exercise Think of someone in your family, imagining them doing something they typically do – like, your mother gardening or your brother sketching pictures under a tree. Freeze them there in your mind in an “imaginary” photograph. Describe the photograph as if it were real, using the details to reveal something about this person’s character. Piece by Piece Exercise Write a poem in which you describe an object – not in its entirety – but piece by piece. Do not say what the object is. Let the individual parts explain the whole. Language Play Exercise Make a list of twenty phrases in which you use words as different parts of speech, such as he turned to me with a shadowing stare or her kisses purpled his flesh. Once you’ve made your list, choose one phrase to build a lyric or narrative poem around. Reflection Exercise Look at yourself in a mirror for as long as you can stand it. Describe yourself in as much detail as possible. Build a poem around your own reflection: the way your body changes over time, the small details of your face that no one notices, the reality of “facing” yourself, etc. Repulsion Exercise Make a list of things you find repulsive – the smell of garbage, fast food employees, people who never shut up, etc. Choose one and write a poem in which you describe that person, place or thing in such a way that it becomes beautiful. Sandwich Exercise Find a short lyric poem you really like and type it on your computer, leaving three blank lines between each line of the poem. Print it out. In the spaces between each line, fill in a new line of your own that seems like it would sound right following the line original line before it. Once you have filled in all the spaces with lines of your own, cross out all the typed lines from the original poem. Revise the poem using only the lines that you have written. (by J. D. McClatchy, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Scene Exercise Sit in one place for fifteen minutes and write down everything you observe about the place: sights, sounds, smells, feelings, colors, temperature, lighting, etc. Once you have a complete description, create a poem that develops a scene through a series of images. Scissors Exercise Take a poem that you’ve been working on but have been unable to get “to work.” Type it up, double-spaced, and print it out. Cut it into pieces – cutting so that phrases and chunks of sound or sense stay together. Throw away any extra parts, then take all of the “pieces” and try rearranging them in different orders. Add whatever you need, and keep moving things around until it “works.” (by Chase Twichell, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Secondhand Memory Exercise Talk with your parents or someone else who would know about your childhood. Try to find out something you didn’t know about yourself and then write about it as if you remembered it. Sexual Metaphor Exercise THE GROUNDFALL PEAR Jane Hirshfield It is the one he chooses, yellow, plump, a little bruised on one side from falling. That place he takes first. Using Hirshfield’s poem as a model, write a short (4-5 line) lyric poem that is a metaphor for sex, desire, or love. Shame Exercise Write a poem about an experience that caused you to feel a sense of shame. Shape Exercise Sit in one room and make a list of descriptions of various objects and their shapes. Try to be as exact as possible, and to make the description of the different shapes distinct. Meditate on the shape and form of objects. Try to build a poem around one or the objects, a particular shape, or the idea of form. Suspense Exercise Write a poem in which you withhold the subject and verb for as long as possible; begin with a preposition or adverb, then pile up the phrases and clauses. Syllabic Exercise Write a poem that is composed of only one-syllable words, or a poem that alternates between one and two-syllable words. Voice Exercise Write a poem in which you take on the voice of one of the following: A used napkin A scalpel A turtle turned upside down by a group of children A washing machine A framed photograph A ceiling fan An unopened letter A remote control Widow Exercise Write a poem in the voice of a widow whose husband has drowned. Invent any story you like about how this happened – he was a fisherman who was washed overboard in a storm or he was in a boat that capsized. Imagine that the widow, who now hates water, is forced to confront it due to circumstances beyond her control. Perhaps she goes to visit a friend who lives by a lake, or she must jump in a pool to save a child who has fallen in. Write a poem in which you adopt the persona of the widow. In her voice, describe what you see and feel as you look out at the water. (by Maura Stanton, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Window Exercise Write a poem describing a scene outside your window. Do this even if your window faces a brick wall or a boring landscape; use your imagination to make it interesting. Word List Exercise Writing poetry teaches you to experience language in new ways, and the most important thing that you can do as a writer is to develop a relationship with words – to look at them individually, to learn how to see and hear and taste and feel the different textures of each word, and then to learn ways to weave words together into poems. Exercise: Make a list of twenty-five of the most beautiful/sensual/or poetic words you can think of. (For example, some of my favorite words are: obsidian, wisp, hollow, trickle, iridescent, and flicker.) If you can’t think of any off the top of your head, flip through the dictionary. Once you have your list of words, pick one to try to build a poem around. The word can be the title of your poem, part of an image, central to a narrative, or just a word in a line.

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Ekphrastic poetry

Ekphrasis: writing that comments upon another art form, for instance a poem about a photograph or a novel about a film.  Keats' "Ode on a Grecian Urn" is a prime example of this type of writing, since the entire poem concerns the appearance and meaning of an ancient piece of pottery.

Thou still unravish'd bride of quietness,
    Thou foster-child of silence and slow time,
Sylvan historian, who canst thus express
    A flowery tale more sweetly than our rhyme:
What leaf-fring'd legend haunt about thy shape
    Of deities or mortals, or of both,
        In Tempe or the dales of Arcady?
    What men or gods are these?  What maidens loth?
What mad pursuit?  What struggle to escape?
        What pipes and timbrels?  What wild ecstasy?

Heard melodies are sweet, but those unheard
    Are sweeter: therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
    Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
    Thy song, nor ever can those trees be bare;
        Bold lover, never, never canst thou kiss,
Though winning near the goal - yet, do not grieve;
        She cannot fade, though thou hast not thy bliss,
    For ever wilt thou love, and she be fair!

Ah, happy, happy boughs! that cannot shed
    Your leaves, nor ever bid the spring adieu;
And, happy melodist, unwearied,
    For ever piping songs for ever new;
More happy love! more happy, happy love!
    For ever warm and still to be enjoy'd,
        For ever panting, and for ever young;
All breathing human passion far above,
    That leaves a heart high-sorrowful and cloy'd,
        A burning forehead, and a parching tongue.

Who are these coming to the sacrifice?
    To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
    And all her silken flanks with garlands drest?
What little town by river or sea shore,
    Or mountain-built with peaceful citadel,
        Is emptied of this folk, this pious morn?
And, little town, thy streets for evermore
    Will silent be; and not a soul to tell
        Why thou art desolate, can e'er return.

O Attic shape!  Fair attitude! with brede
    Of marble men and maidens overwrought,
With forest branches and the trodden weed;
    Thou, silent form, dost tease us out of thought
As doth eternity: Cold Pastoral!
    When old age shall this generation waste,
        Thou shalt remain, in midst of other woe
    Than ours, a friend to man, to whom thou say'st,
"Beauty is truth, truth beauty," - that is all
        Ye know on earth, and all ye need to know.





The Poet Speaks of Art

Introductory Remarks by Harry Rusche on Poets and Paintings

Ever since the Roman poet Horace set down in his Ars Poetica (c. 13 BC) the dictum "ut pictura poesis"--"as is painting, so is poetry"--the two arts have been wedded in the critical mind. Poets and painters sometimes turn to one another for inspiration, and the dialogue has been mutually beneficial. Painters and illustrators have often been inspired by literature, especially in the eighteenth and nineteenth centuries. The critic Richard Altick says, for example, that between 1760 and 1900 there existed around 2,300 paintings based on Shakespeare's plays alone. These Shakespeare paintings are only one-fifth of the 11,500 paintings on subjects and scenes from literature--and we are talking only about paintings done in England during those years! Sheer numbers indicate the influence of authors on artists. Listed in the section on additional readings are several books that discuss the relationships between art and literature.
The road runs both ways, of course, and writers turn as well to paintings for their inspiration. In the small anthology of poems and paintings exhibited here, some interesting questions arise as we contemplate the relationship between the poem and the picture. Is the poem simply an objective verbal description of the work of art, or does the poet make conclusions about what the painting means? Could you reconstruct the painting from the poem without actually seeing it? Why does the poet dwell on some features of the the painting and ignore other aspects of the picture? Do you agree with the meaning the poet "reads" in the painting, or do you think the writer misreads it or warps the scene depicted to personal ends?


Go to link:
homepage.mac.com/mseffie/assignments/paintings&poems/titlepage.html