Excerpt from "The Prélude"by William Wordsworth; How to Dress a Star by Nicholas Goodly; May And The Poets by James Henry Leigh Hunt; Sonnet by Boccaccio; One Evening by W. H. Auden; Touching and Being Touched by Jenny George; i am running into a new year by Lucille Clifton
Excerpt from The Prelude
Even though written almost 200 years ago, the 4 lines chosen seemed appropriate for contemporary times. There are varying viewpoints about solitude, how sometimes it is associated negatively with introversion, and how COVID put a negative spin on it.
Prélude was written in 1798, when Wordsworth was 28 years old. For those interested in the contrast between Wordsworth and Keats, both "Titans" in their time period, apparently Keats initially admired Wordsworth's genius, but grew increasingly critical of the elder poet's later conservatism and self-importance. He once wrote that he admired "half of Wordsworth"—likely preferring his earlier, more emotionally raw work. While Wordsworth (1770–1850) established the movement's focus on nature and memory, Keats (1795–1821) pushed Romantic poetry toward pure sensory beauty and "Negative Capability". (Embrace of uncertainty, mystery, and doubt without aggressively trying to figure it all out.)
The sonnet "the world too much with us" by Wordsworth comes to mind-- and the criticism of humankind's lust for "things" and "power".
The photo below is a perfect illustration of the serenity of a meditative solitude. Indeed, no harm seems possible.
722 University Ave, Rochester, NY 14607
How to Dress a Star: Knowing that Nicholas Goodly is both Black and Queer might change how you see the word "color" in the 3rd stanza. For those who don't know the word "morpher" it comes from the Power Rangers, which Goodly expands upon in the next 3 couplets following.
The title is intriguing with a hint of child-like imagination. It could be deciding which costume to wear to be a celestial point of light or a movie or rock star, or to actually put clothes on a star, which does not require clothing. After seeing how neatly Goodly portrays the past, segues into the present in the 8th couplet, the idea of how we dress, how we make art, to save "part of the whole" expands into the larger idea hinting at becoming whole in oneself to do the work of repair for all. Some related to the "same costume" idea, not needing to think about how one looks or will be judged by others; some brought up pros and cons of soap bubbles, which aren't necessarily a guaranteed delight for all children, especially the giant ones.
We examined the two spots where Goodly leaves a space : 3rd couplet: flamboyant color... at all times
which emphasizes the enjambment... at all time /a solid-karat morpher or perhaps stresses separation between color and morpher. The second time, 7th couplet, did I believe things hard...
back then, the focus is not on the next couplet but puts the accent on "believe things hard", as both "really, really, really believe" and "hard" as difficult, or even, as opposed to those soap bubbles, tangibly hard, as in solid.
There is a delightful tone, a lilt to the language and rhythm and something almost whimsical to the piece. The final couplet seems quite serious in contrast which is somewhat puzzling especially as it veers away from the ambiguous title.
May: Leigh Hunt (1794-1859) certainly knows his classics! For those wanting to know more about each poet mentioned enjoy the hyperlinks: 16th c. Spenser; 17th c. Milton; bridging 17-18thc. Prior; 14th c. Chaucer, Short-lived Scotsman (early 18th) Thomson, 18th c. Dyer.
May, may, may, may!!!! There is certainly a celebration about this month in our northern hemisphere where traditionally April is known for its fickle swings of temperature and winds, but May expands into a flowering omnipresence that leaves one feeling content and optimistic. So it is with this sonnet.
Sonnet: back to the 14th century, with a translation by the 19th century Rossetti (brother of Christina). We discussed the use of the parentheses which inserts the poet into the telling of the story. It reminds me of this painting Opal by Swedish Impressionist, Anders Leonard Zorn,
where you feel you are "eavesdropping" or peeping in on a scene that should be private.
One person remarked how the indentations in the two quatrains felt like the lines are being cupped in ones hands.
One Evening: to hear Auden read it: In the opening quatrain, one doesn't know if the wheat is blowing in the wind, or scythed. The juxtaposition of love song, and ominous chime of the clock indeed has the clock carry on as witness of the Grim Reaper. The last five stanzas recount what time sees continuing with the foretelling of the future, looking back at all that is over. "The crack in the tea-cup opens/A lane to the land of the dead". We enjoyed the use of references to stories -- how the adventure and lure of conquer is enchanting to Jack (WW1, although this is written in 1939, so perhaps refers to the preliminaries before the second World War); A "Roarer" in 17th century London slang is a street brawler. the Lily-white boys is part of a "teaching song" about the Prophets, so would refer to John the Baptist, and Jesus, was born without original sin. See: Green Grow the Rushes-Ho Jill on her back is yet another reversal.
For the last line, one might be reminded of the movie, A River Runs Through It. Auden expands on the river metaphor here
Touching: One could discuss this short poem at length, telling and re-telling all possible ways to understand this snippet of a story. The unexpected turns, the short sentences, especially the shiver of the one in the fourth line of the trembling liquid, along with the compression into nine lines, the parallel chokecherry and wind all are part of highly skilled story telling. Is the first fellow the same as the one in the penultimate line?
The reciprocity implied in the title reflects in the final line -- "to make it even"... and then...
i am running: What wisdom! What is it we say to ourselves? Does it change over the years? Why do we seek forgiveness? If you read this poem fast, breathlessly, perhaps you gulp for air at i beg what i love and/// i leave --
forgive me -- it's a new page and I'm running--
This is the kind of poem that invites each reader to pen a response. Here is one offered
by James Cox. Response to Lucille Clifton by Jim Cox
Regarding the poem, “I am Running into a New Year.”
There is no forgiveness
In the past.
There is no fortune
In the future.
Only the present exists,
The gift of the moment
That allows all our movement,
That guarantees the switch.
So, if you want yourself
To forgive yourself,
Stand outside beneath a tree,
Smile – Set yourself free.
My breath literally felt "taken away" -- but then returned to me, renewed, eyes and spirit are refreshed, able to rest in tranquil contemplation. All cares and worries disappear like mist, and a welcome sense of peace restored.
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