酷我-北美枫

[anna]

by Edward Hirsch

Heartlandby Edward Hirsch

http://www.poetryfoundation.org/journal/article.html?id=177205

Read these poems to yourself in the middle of the night. Turn on a single lamp and read them while you’re alone in an otherwise dark room or while someone else sleeps next to you. Read them when you’re wide awake in the early morning, fully alert. Say them over to yourself in a place where silence reigns and the din of the culture—the constant buzzing noise that surrounds us—has momentarily stopped. These poems have come from a great distance to find you. I think of Malebranche’s maxim, “Attentiveness is the natural prayer of the soul.” This maxim, beloved by Simone Weil and Paul Celan, quoted by Walter Benjamin in his magisterial essay on Franz Kafka, can stand as a writer’s credo. It also serves for readers. Paul Celan said:

A poem, as a manifestation of language and thus essentially dialogue, can be a message in a bottle, sent out in the—not always greatly hopeful—belief that somewhere and sometime it could wash up on land, on heartland perhaps. Poems in this sense, too, are under way: they are making toward something.
Imagine you have gone down to the shore and there, amidst the other debris—the seaweed and rotten wood, the crushed cans and dead fish— you find an unlikely looking bottle from the past. You bring it home and discover a message inside. This letter, so strange and disturbing, seems to have been making its way toward someone for a long time, and now that someone turns out to be you. The great Russian poet Osip Mandelstam, destroyed in a Stalinist camp, identified this experience. “Why shouldn’t the poet turn to his friends, to those who are naturally close to him?” he asked in “On the Addressee.” But of course those friends aren’t necessarily the people around him in daily life. They may be the friends he only hopes exist, or will exist, the ones his words are seeking. Mandelstam wrote:

At a critical moment, a seafarer tosses a sealed bottle into the ocean waves, containing his name and a message detailing his fate. Wandering along the dunes many years later, I happen upon it in the sand. I read the message, note the date, the last will and testament of one who has passed on. I have the right to do so. I have not opened someone else’s mail. The message in the bottle was addressed to its finder. I found it. That means, I have become its secret addressee.


Thus it is for all of us who read poems, who become the secret addressees of literary texts. I am at home in the middle of the night and suddenly hear myself being called, as if by name. I go over and take down the book—the message in the bottle—because tonight I am its recipient, its posterity, its heartland.
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[[星子安娜]]

by Edward Hirsch

Heartlandby Edward Hirsch

http://www.poetryfoundation.org/journal/article.html?id=177205

Read these poems to yourself in the middle of the night. Turn on a single lamp and read them while you’re alone in an otherwise dark room or while someone else sleeps next to you. Read them when you’re wide awake in the early morning, fully alert. Say them over to yourself in a place where silence reigns and the din of the culture—the constant buzzing noise that surrounds us—has momentarily stopped. These poems have come from a great distance to find you. I think of Malebranche’s maxim, “Attentiveness is the natural prayer of the soul.” This maxim, beloved by Simone Weil and Paul Celan, quoted by Walter Benjamin in his magisterial essay on Franz Kafka, can stand as a writer’s credo. It also serves for readers. Paul Celan said:

A poem, as a manifestation of language and thus essentially dialogue, can be a message in a bottle, sent out in the—not always greatly hopeful—belief that somewhere and sometime it could wash up on land, on heartland perhaps. Poems in this sense, too, are under way: they are making toward something.
Imagine you have gone down to the shore and there, amidst the other debris—the seaweed and rotten wood, the crushed cans and dead fish— you find an unlikely looking bottle from the past. You bring it home and discover a message inside. This letter, so strange and disturbing, seems to have been making its way toward someone for a long time, and now that someone turns out to be you. The great Russian poet Osip Mandelstam, destroyed in a Stalinist camp, identified this experience. “Why shouldn’t the poet turn to his friends, to those who are naturally close to him?” he asked in “On the Addressee.” But of course those friends aren’t necessarily the people around him in daily life. They may be the friends he only hopes exist, or will exist, the ones his words are seeking. Mandelstam wrote:

At a critical moment, a seafarer tosses a sealed bottle into the ocean waves, containing his name and a message detailing his fate. Wandering along the dunes many years later, I happen upon it in the sand. I read the message, note the date, the last will and testament of one who has passed on. I have the right to do so. I have not opened someone else’s mail. The message in the bottle was addressed to its finder. I found it. That means, I have become its secret addressee.


Thus it is for all of us who read poems, who become the secret addressees of literary texts. I am at home in the middle of the night and suddenly hear myself being called, as if by name. I go over and take down the book—the message in the bottle—because tonight I am its recipient, its posterity, its heartland.
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[anna]

To the Reader Setting Outby Edward Hirsch

The reader of poetry is a kind of pilgrim setting out, setting forth. The reader is what Wallace Stevens calls “the scholar of one candle.” Reading poetry is an adventure in renewal, a creative act, a perpetual beginning, a rebirth of wonder. “Beginning is not only a kind of action,” Edward Said writes in Beginnings, “it is also a frame of mind, a kind of work, an attitude, a consciousness.” I love the frame of mind, the playful work and working playfulness, the form of consciousness—the dreamy attentiveness—that come with the reading of poetry.

Reading is a point of departure, an inaugural, an initiation. Open the Deathbed Edition of Leaves of Grass (1891-1892) and you immediately encounter a series of “Inscriptions,” twenty-six poems that Walt Whitman wrote over a period of three decades to inscribe a beginning, to introduce and inaugurate his major work, the one book he had been writing all his life. Beginning my own book on the risks and thralls, the particular enchantments, of reading poetry, I keep thinking of Whitman’s six-line poem “Beginning My Studies.”

Beginning my studies the first step pleas’d me so much,
The mere fact consciousness, these forms, the power of motion,
The least insect or animal, the senses, eyesight, love,
The first step I say awed me and pleas’d me so much,
I have hardly gone and hardly wish’d to go any farther,
But stop and loiter all the time to sing it in ecstatic songs.
I relish the way that Whitman lingers in this one-sentence poem over the very first step of studying, the mere fact—the miracle—of consciousness itself, the joy of encountering “these forms,” the empowering sense of expectation and renewal, the whole world blooming at hand, the awakened mental state that takes us through our senses from the least insect to the highest power of love. We can scarcely turn the page, so much do we linger with pleasure over the ecstatic beginning. We are instructed by Whitman in the joy of starting out that the deepest spirit of poetry is awe.

Poetry is a way of inscribing that feeling of awe. I don’t think we should underestimate the capacity for tenderness that poetry opens within us. Another one of the “Inscriptions” is a two-line poem that Whitman wrote in 1860. Called simply “To You,” it consists in its entirety of two rhetorical questions:
Stranger, if you passing meet me and desire to speak to me, why should you
not speak to me?
And why should I not speak to you?
It seems entirely self-evident to Whitman that two strangers who pass each other on the road ought to be able to loiter and speak, to connect. Strangers who communicate might well become friends. Whitman refuses to be bound, to be circumscribed, by any hierarchical or class distinctions. One notices how naturally he addresses the poem not to the people around him, whom he already knows, but to the “stranger,” to the future reader, to you and me, to each of us who would pause with him in the open air. Let there be an easy flow—an affectionate commerce—between us.

Here is one last “Inscription,” the very next poem in Leaves of Grass. It’s called “Thou Reader” and was written twenty-one years after “To You.”

Thou reader throbbest life and pride and love the same as I,
Therefore for thee the following chants.
I am completely taken by the way that Whitman always addresses the reader as an equal, as one who has the same strange throb of life he has, the same pulsing emotions. There’s a desperate American friendliness to the way he repeatedly dedicates his poems to strangers, to readers and poets to come, to outsiders everywhere. Whoever you are, he would embrace you. I love the deep affection and even need with which Whitman dedicates and sends forth his poems to the individual reader. He leaves each of us a gift. To you, he says, the following chants.
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[[星子安娜]]

To the Reader Setting Outby Edward Hirsch

The reader of poetry is a kind of pilgrim setting out, setting forth. The reader is what Wallace Stevens calls “the scholar of one candle.” Reading poetry is an adventure in renewal, a creative act, a perpetual beginning, a rebirth of wonder. “Beginning is not only a kind of action,” Edward Said writes in Beginnings, “it is also a frame of mind, a kind of work, an attitude, a consciousness.” I love the frame of mind, the playful work and working playfulness, the form of consciousness—the dreamy attentiveness—that come with the reading of poetry.

Reading is a point of departure, an inaugural, an initiation. Open the Deathbed Edition of Leaves of Grass (1891-1892) and you immediately encounter a series of “Inscriptions,” twenty-six poems that Walt Whitman wrote over a period of three decades to inscribe a beginning, to introduce and inaugurate his major work, the one book he had been writing all his life. Beginning my own book on the risks and thralls, the particular enchantments, of reading poetry, I keep thinking of Whitman’s six-line poem “Beginning My Studies.”

Beginning my studies the first step pleas’d me so much,
The mere fact consciousness, these forms, the power of motion,
The least insect or animal, the senses, eyesight, love,
The first step I say awed me and pleas’d me so much,
I have hardly gone and hardly wish’d to go any farther,
But stop and loiter all the time to sing it in ecstatic songs.
I relish the way that Whitman lingers in this one-sentence poem over the very first step of studying, the mere fact—the miracle—of consciousness itself, the joy of encountering “these forms,” the empowering sense of expectation and renewal, the whole world blooming at hand, the awakened mental state that takes us through our senses from the least insect to the highest power of love. We can scarcely turn the page, so much do we linger with pleasure over the ecstatic beginning. We are instructed by Whitman in the joy of starting out that the deepest spirit of poetry is awe.

Poetry is a way of inscribing that feeling of awe. I don’t think we should underestimate the capacity for tenderness that poetry opens within us. Another one of the “Inscriptions” is a two-line poem that Whitman wrote in 1860. Called simply “To You,” it consists in its entirety of two rhetorical questions:
Stranger, if you passing meet me and desire to speak to me, why should you
not speak to me?
And why should I not speak to you?
It seems entirely self-evident to Whitman that two strangers who pass each other on the road ought to be able to loiter and speak, to connect. Strangers who communicate might well become friends. Whitman refuses to be bound, to be circumscribed, by any hierarchical or class distinctions. One notices how naturally he addresses the poem not to the people around him, whom he already knows, but to the “stranger,” to the future reader, to you and me, to each of us who would pause with him in the open air. Let there be an easy flow—an affectionate commerce—between us.

Here is one last “Inscription,” the very next poem in Leaves of Grass. It’s called “Thou Reader” and was written twenty-one years after “To You.”

Thou reader throbbest life and pride and love the same as I,
Therefore for thee the following chants.
I am completely taken by the way that Whitman always addresses the reader as an equal, as one who has the same strange throb of life he has, the same pulsing emotions. There’s a desperate American friendliness to the way he repeatedly dedicates his poems to strangers, to readers and poets to come, to outsiders everywhere. Whoever you are, he would embrace you. I love the deep affection and even need with which Whitman dedicates and sends forth his poems to the individual reader. He leaves each of us a gift. To you, he says, the following chants.
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[anna]

In the Beginning Is the Relationby Edward Hirsch

The message in the bottle is a lyric poem and thus a special kind of communiqu�. It speaks out of a solitude to a solitude; it begins and ends in silence. We are not in truth conversing by the side of the road. Rather, something has been written; something is being read. Language has become strange in this urgent and oddly self-conscious way of speaking across time. The poem has been (silently) en route—sometimes for centuries—and now it has signaled me precisely because I am willing to call upon and listen to it. Reading poetry is an act of reciprocity, and one of the great tasks of the lyric is to bring us into right relationship to each other. The relationship between writer and reader is by definition removed and mediated through a text, a body of words. It is a particular kind of exchange between two people not physically present to each other. The lyric poem is a highly concentrated and passionate form of communication between strangers—an immediate, intense, and unsettling form ofliterary discourse. Reading poetry is a way of connecting—through the medium of language—more deeply with yourself even as you connect more deeply with another. The poem delivers on our spiritual lives precisely because it simultaneously gives us the gift of intimacy and interiority, privacy and participation.

Poetry is a voicing, a calling forth, and the lyric poem exists somewhere in the region—the register—between speech and song. The words are waiting to be vocalized. The greatest poets have always recognized the oral dimensions of their medium. For most of human history poetry has been an oral art. It retains vestiges of that orality always. Writing is not speech. It is graphic inscription, it is visual emblem, it is a chain of signs on the page. Nonetheless: “I made it out of a mouthful of air,” W. B. Yeats boasted in an early poem. As, indeed, he did. As every poet does. So, too, does the reader make, or remake, the poem out of a mouthful of air, out of breath. When I recite a poem I reinhabit it, I bring the words off the page into my own mouth, my own body. I become its speaker and let its verbal music move through me as if the poem is a score and I am its instrumentalist, its performer. I let its heartbeat pulse through me as embodied experience, as experience embedded in the sensuality of sounds. The poem implies mutual participation in language, and for me, that participation mystique is at the heart of the lyric exchange.

Many poets have embraced the New Testament idea that “In the beginning was the Word,” but I prefer Martin Buber’s notion in I and Thou that “In the beginning is the relation.” The relation precedes the Word because it is authored by the human. The lyric poem may seek the divine but it does so through the medium of a certain kind of human interaction. The secular can be made sacred through the body of the poem. I understand the relationship between the poet, the poem, and the reader not as a static entity but as a dynamic unfolding. An emerging sacramental event. A relation between an I and a You. A relational process.
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[[星子安娜]]

In the Beginning Is the Relationby Edward Hirsch

The message in the bottle is a lyric poem and thus a special kind of communiqu�. It speaks out of a solitude to a solitude; it begins and ends in silence. We are not in truth conversing by the side of the road. Rather, something has been written; something is being read. Language has become strange in this urgent and oddly self-conscious way of speaking across time. The poem has been (silently) en route—sometimes for centuries—and now it has signaled me precisely because I am willing to call upon and listen to it. Reading poetry is an act of reciprocity, and one of the great tasks of the lyric is to bring us into right relationship to each other. The relationship between writer and reader is by definition removed and mediated through a text, a body of words. It is a particular kind of exchange between two people not physically present to each other. The lyric poem is a highly concentrated and passionate form of communication between strangers—an immediate, intense, and unsettling form ofliterary discourse. Reading poetry is a way of connecting—through the medium of language—more deeply with yourself even as you connect more deeply with another. The poem delivers on our spiritual lives precisely because it simultaneously gives us the gift of intimacy and interiority, privacy and participation.

Poetry is a voicing, a calling forth, and the lyric poem exists somewhere in the region—the register—between speech and song. The words are waiting to be vocalized. The greatest poets have always recognized the oral dimensions of their medium. For most of human history poetry has been an oral art. It retains vestiges of that orality always. Writing is not speech. It is graphic inscription, it is visual emblem, it is a chain of signs on the page. Nonetheless: “I made it out of a mouthful of air,” W. B. Yeats boasted in an early poem. As, indeed, he did. As every poet does. So, too, does the reader make, or remake, the poem out of a mouthful of air, out of breath. When I recite a poem I reinhabit it, I bring the words off the page into my own mouth, my own body. I become its speaker and let its verbal music move through me as if the poem is a score and I am its instrumentalist, its performer. I let its heartbeat pulse through me as embodied experience, as experience embedded in the sensuality of sounds. The poem implies mutual participation in language, and for me, that participation mystique is at the heart of the lyric exchange.

Many poets have embraced the New Testament idea that “In the beginning was the Word,” but I prefer Martin Buber’s notion in I and Thou that “In the beginning is the relation.” The relation precedes the Word because it is authored by the human. The lyric poem may seek the divine but it does so through the medium of a certain kind of human interaction. The secular can be made sacred through the body of the poem. I understand the relationship between the poet, the poem, and the reader not as a static entity but as a dynamic unfolding. An emerging sacramental event. A relation between an I and a You. A relational process.
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[anna]

Stored Magicby Edward Hirsch

The lyric poem seeks to mesmerize time. It crosses frontiers and outwits the temporal. It seeks to defy death, coming to disturb and console you. (“These Songs are not meant to be understood, you understand,” John Berryman wrote in one of his last Dream Songs: “They are only meant to terrify & comfort.”) The poet is incited to create a work that can outdistance time and surmount distance, that can bridge the gulf—the chasm—between people otherwise unknown to each other. It can survive changes oflanguage and in language, changes in social norms and customs, the ravages of history. Here is Robert Graves in The White Goddess:

True poetic practice implies a mind so miraculously attuned and illuminated that it can form words, by a chain of more-thancoincidences, into a living entity—a poem that goes about on its own (for centuries after the author’s death, perhaps) affecting readers with its stored magic.
I believe such stored magic can author in the reader an equivalent capacity for creative wonder, creative response to a living entity. (Graves means his statement literally.) The reader completes the poem, in the process bringing to it his or her own past experiences. You are reading poetry—I mean really reading it—when you feel encountered and changed by a poem, when you feel its seismic vibrations, the sounding of your depths. “There is no place that does not see you,” Rainer Maria Rilke writes at the earth-shattering conclusion of his poem “Archaic Torso of Apollo”: “You must change your life.”
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[[星子安娜]]

Stored Magicby Edward Hirsch

The lyric poem seeks to mesmerize time. It crosses frontiers and outwits the temporal. It seeks to defy death, coming to disturb and console you. (“These Songs are not meant to be understood, you understand,” John Berryman wrote in one of his last Dream Songs: “They are only meant to terrify & comfort.”) The poet is incited to create a work that can outdistance time and surmount distance, that can bridge the gulf—the chasm—between people otherwise unknown to each other. It can survive changes oflanguage and in language, changes in social norms and customs, the ravages of history. Here is Robert Graves in The White Goddess:

True poetic practice implies a mind so miraculously attuned and illuminated that it can form words, by a chain of more-thancoincidences, into a living entity—a poem that goes about on its own (for centuries after the author’s death, perhaps) affecting readers with its stored magic.
I believe such stored magic can author in the reader an equivalent capacity for creative wonder, creative response to a living entity. (Graves means his statement literally.) The reader completes the poem, in the process bringing to it his or her own past experiences. You are reading poetry—I mean really reading it—when you feel encountered and changed by a poem, when you feel its seismic vibrations, the sounding of your depths. “There is no place that does not see you,” Rainer Maria Rilke writes at the earth-shattering conclusion of his poem “Archaic Torso of Apollo”: “You must change your life.”
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[anna]

The Immense Intimacy, the Intimate Immensityby Edward Hirsch

The profound intimacy of lyric poetry makes it perilous because it gets so far under the skin, into the skin. “For poems are not, as people think, simply emotions (one has emotions early enough)—they are experiences,” Rilke wrote in a famous passage from The Notebooks of Malte Laurids Brigge. I am convinced the kind of experience—the kind of knowledge—one gets from poetry cannot be duplicated elsewhere. The spiritual life wants articulation—it wants embodiment in language. The physical life wants the spirit. I know this because I hear it in the words, because when I liberate the message in the bottle a physical—a spiritual—urgency pulses through the arranged text. It is as if the spirit grows in my hands. Or the words rise in the air. “Roots and wings,” the Spanish poet Juan Ramón Jim�nez writes, “But let the wings take root and the roots fly.”

There are people who defend themselves against being “carried away” by poetry, thus depriving themselves of an essential aspect of the experience. But there are others who welcome the transport poetry provides. They welcome it repeatedly. They desire it so much they start to crave it daily, nightly, nearly abject in their desire, seeking it out the way hungry people seek food. It is spiritual sustenance to them. Bread and wine. A way of transformative thinking. A method of transfiguration. There are those who honor the reality of roots and wings in words, but also want the wings to take root, to grow into the earth, and the roots to take flight, to ascend. They need such falling and rising, such metaphoric thinking. They are so taken by the ecstatic experience—the overwhelming intensity—of reading poems they have to respond in kind. And these people become poets.

Emily Dickinson is one of my models of a poet who responded completely to what she read. Here is her compelling test of poetry:

If I read a book [and] it makes my whole body so cold no fire can ever warm me I know that is poetry. If I feel physically as if the top of my head were taken off, I know that is poetry. These are the only way I know. Is there any other way.
Dickinson recognizes true poetry by the extremity—the actual physical intensity—of her response to it. It’s striking that she doesn’t say she knows poetry because of any intrinsic qualities of poetry itself. Rather, she recognizes it by contact; she knows it by what it does to her, and she trusts her own response. Of course, only the strongest poetry could effect such a response. Her aesthetic is clear: always she wants to be surprised, to be stunned, by what one of her poems calls “Bolts of Melody.”

Dickinson had a voracious appetite for reading poetry. She read it with tremendous hunger and thirst—poetry was sustenance to her. Much has been made of her reclusion, but, as her biographer Richard Sewall suggests, “She saw herself as a poet in the company of the Poets—and, functioning as she did mostly on her own, read them (among other reasons) for company.” He also points to Dickinson’s various metaphors for the poets she read. She called them “the dearest ones of time, the strongest friends of the soul,” her “Kinsmen of the Shelf,” her “enthralling friends, the immortalities.” She spoke of the poet’s “venerable Hand” that warmed her own. Dickinson was a model of poetic responsiveness because she read with her whole being.

One of the books Emily Dickinson marked up, Ik Marvel’s Reveries of a Bachelor (1850), recommends that people read for “soul-culture.” I like that dated nineteenth-century phrase because it points to the depth that can be shared by the community of solitaries who read poetry. I, too, read for soul-culture—the culture of the soul. That’s why the intensity of engagement I have with certain poems, certain poets, is so extreme. Reading poetry is for me an act of the most immense intimacy, of intimate immensity. I am shocked by what I see in the poem but also by what the poem finds in me. It activates my secret world, commands my inner life. I cannot get access to that inner life any other way than through the power of the words themselves. The words pressure me into a response, and the rhythm of the poem carries me to another plane of time, outside of time.

Rhythm can hypnotize and alliteration can be almost hypnotic. A few lines from Tennyson’s The Princess can still send me into a kind of trance:

The moan of doves in immemorial elms
And murmurings of innumerable bees.
And I can still get lost when Hart Crane links the motion of a boat with an address to his lover in part 2 of “Voyages”:

And onward, as bells off San Salvador
Salute the crocus lustres of the stars,
In these poinsettia meadows of her tides,—
Adagios of islands, O my Prodigal,
Complete the dark confessions her veins spell.
The words move ahead of the thought in poetry. The imagination loves reverie, the daydreaming capacity of the mind set in motion by words, by images.

As a reader, the hold of the poem over me can be almost embarrassing because it is so childlike, because I need it so much to give me access to my own interior realms. It plunges me into the depths (and poetry is the literature of depths) and gives a tremendous sense of another world growing within. (“There is another world and it is in this one,” Paul &Eacute;luard wrote.) I need the poem to enchant me, to shock me awake, to shift my waking consciousness and open the world to me, to open me up to the world—to the word—in a new way. I am pried open. The spiritual
desire for poetry can be overwhelming, so much do I need it to experience and name my own perilous depths and vast spaces, my own well-being. And yet the work of art is beyond existential embarrassment. It is mute and plaintive in its calling out, its need for renewal. It needs a reader to possess it, to be possessed by it. Its very life depends upon it.
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[[星子安娜]]

The Immense Intimacy, the Intimate Immensityby Edward Hirsch

The profound intimacy of lyric poetry makes it perilous because it gets so far under the skin, into the skin. “For poems are not, as people think, simply emotions (one has emotions early enough)—they are experiences,” Rilke wrote in a famous passage from The Notebooks of Malte Laurids Brigge. I am convinced the kind of experience—the kind of knowledge—one gets from poetry cannot be duplicated elsewhere. The spiritual life wants articulation—it wants embodiment in language. The physical life wants the spirit. I know this because I hear it in the words, because when I liberate the message in the bottle a physical—a spiritual—urgency pulses through the arranged text. It is as if the spirit grows in my hands. Or the words rise in the air. “Roots and wings,” the Spanish poet Juan Ramón Jim�nez writes, “But let the wings take root and the roots fly.”

There are people who defend themselves against being “carried away” by poetry, thus depriving themselves of an essential aspect of the experience. But there are others who welcome the transport poetry provides. They welcome it repeatedly. They desire it so much they start to crave it daily, nightly, nearly abject in their desire, seeking it out the way hungry people seek food. It is spiritual sustenance to them. Bread and wine. A way of transformative thinking. A method of transfiguration. There are those who honor the reality of roots and wings in words, but also want the wings to take root, to grow into the earth, and the roots to take flight, to ascend. They need such falling and rising, such metaphoric thinking. They are so taken by the ecstatic experience—the overwhelming intensity—of reading poems they have to respond in kind. And these people become poets.

Emily Dickinson is one of my models of a poet who responded completely to what she read. Here is her compelling test of poetry:

If I read a book [and] it makes my whole body so cold no fire can ever warm me I know that is poetry. If I feel physically as if the top of my head were taken off, I know that is poetry. These are the only way I know. Is there any other way.
Dickinson recognizes true poetry by the extremity—the actual physical intensity—of her response to it. It’s striking that she doesn’t say she knows poetry because of any intrinsic qualities of poetry itself. Rather, she recognizes it by contact; she knows it by what it does to her, and she trusts her own response. Of course, only the strongest poetry could effect such a response. Her aesthetic is clear: always she wants to be surprised, to be stunned, by what one of her poems calls “Bolts of Melody.”

Dickinson had a voracious appetite for reading poetry. She read it with tremendous hunger and thirst—poetry was sustenance to her. Much has been made of her reclusion, but, as her biographer Richard Sewall suggests, “She saw herself as a poet in the company of the Poets—and, functioning as she did mostly on her own, read them (among other reasons) for company.” He also points to Dickinson’s various metaphors for the poets she read. She called them “the dearest ones of time, the strongest friends of the soul,” her “Kinsmen of the Shelf,” her “enthralling friends, the immortalities.” She spoke of the poet’s “venerable Hand” that warmed her own. Dickinson was a model of poetic responsiveness because she read with her whole being.

One of the books Emily Dickinson marked up, Ik Marvel’s Reveries of a Bachelor (1850), recommends that people read for “soul-culture.” I like that dated nineteenth-century phrase because it points to the depth that can be shared by the community of solitaries who read poetry. I, too, read for soul-culture—the culture of the soul. That’s why the intensity of engagement I have with certain poems, certain poets, is so extreme. Reading poetry is for me an act of the most immense intimacy, of intimate immensity. I am shocked by what I see in the poem but also by what the poem finds in me. It activates my secret world, commands my inner life. I cannot get access to that inner life any other way than through the power of the words themselves. The words pressure me into a response, and the rhythm of the poem carries me to another plane of time, outside of time.

Rhythm can hypnotize and alliteration can be almost hypnotic. A few lines from Tennyson’s The Princess can still send me into a kind of trance:

The moan of doves in immemorial elms
And murmurings of innumerable bees.
And I can still get lost when Hart Crane links the motion of a boat with an address to his lover in part 2 of “Voyages”:

And onward, as bells off San Salvador
Salute the crocus lustres of the stars,
In these poinsettia meadows of her tides,—
Adagios of islands, O my Prodigal,
Complete the dark confessions her veins spell.
The words move ahead of the thought in poetry. The imagination loves reverie, the daydreaming capacity of the mind set in motion by words, by images.

As a reader, the hold of the poem over me can be almost embarrassing because it is so childlike, because I need it so much to give me access to my own interior realms. It plunges me into the depths (and poetry is the literature of depths) and gives a tremendous sense of another world growing within. (“There is another world and it is in this one,” Paul &Eacute;luard wrote.) I need the poem to enchant me, to shock me awake, to shift my waking consciousness and open the world to me, to open me up to the world—to the word—in a new way. I am pried open. The spiritual
desire for poetry can be overwhelming, so much do I need it to experience and name my own perilous depths and vast spaces, my own well-being. And yet the work of art is beyond existential embarrassment. It is mute and plaintive in its calling out, its need for renewal. It needs a reader to possess it, to be possessed by it. Its very life depends upon it.
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[anna]

Mere Air, These Words, but Delicious to Hearby Edward Hirsch

I remember once walking through a museum in Athens and coming across a tall-stemmed cup from ancient Greece that has Sappho saying, “Mere air, these words, but delicious to hear.” The phrase inscribed into the cup, translated onto a museum label, stopped me cold. I paused for a long time to drink in the strange truth that all the sublimity of poetry comes down in the end to mere air and nothing more, to the sound of these words and no others, which are nonetheless delicious and enchanting to hear. Sappho’s lines (or the lines attributed to her) also have a lapidary quality. The phrase has an elegance suitable for writing, for inscription on a cup or in stone. Writing fixes the evanescence of sound. It holds it against death.

The sound of the words is the first primitive pleasure in poetry. “In poetry,” Wallace Stevens asserted, “you must love the words, the ideas and images and rhythms with all your capacity to love anything at all” (“Adagia”). Stevens lists the love of the words as the first condition of a capacity to love anything in poetry at all because it is the words that make things happen. There are times when I read a poem and can feel the syllables coming alive in my mouth, the letters enunciated in the syllables, the syllables coming together as words, the words forming into a phrase, the phrase finding a rhythm in the line, in the lines, in the shape of the words crossing the lines into a sentence, into sentences. I feel the words creating a rhythm, a music, a spell, a mood, a shape, a form. I hear the words coming off the page into my own mouth—in transit, in action. I generate—I re-create—the words incantatory, the words liberated and self-reflexive. Words rising from the body, out of the body. An act of language paying attention to itself. An act of the mind.

“Mere air, these words, but delicious to hear.” In poetry the words enact—they make manifest—what they describe. This is what Gerard Manley Hopkins calls “the roll, the rise, the carol, the creation.” Indeed, one hears in Hopkins’s very phrase the trills or rolled consonants of the letter r reverberating through all four words, the voiced vowels, the r-o-l of “roll” echoing in the back of “carol,” the alliterative c's building a cadence, hammering it in, even as the one-syllable words create a rolling, rising effect that is slowed down by the rhythm of the multisyllabic words, the caroling creation. The pleasure all this creates in the mouth is intense. “The world is charged with the grandeur of God.” I read Hopkins’s poems and feel the deep joy of the sounds creating themselves (“What is all this juice and all this joy?”), the nearly buckling strain of so much drenched spirit, “the achieve of, the mastery of the thing!”

The poem is an act beyond paraphrase because what is being said is always inseparable from the way it is being said. Osip Mandelstam suggested that if a poem can be paraphrased, then the sheets haven’t been rumpled, poetry hasn’t spent the night. The words are an (erotic) visitation, a means to an end, but also an end in and of themselves. The poet is first of all a language worker. A maker. A shaper of language. With Heinrich Heine, the linguist Edward Sapir affirmed in his book Language, “one is under the illusion that the universe speaks German.” With Shakespeare, one is under the impression that it speaks English. This is at the heart of the Orphic calling of the poet: to make it seem as if the very universe speaks and reveals itself through the mother tongue.
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[[星子安娜]]

Mere Air, These Words, but Delicious to Hearby Edward Hirsch

I remember once walking through a museum in Athens and coming across a tall-stemmed cup from ancient Greece that has Sappho saying, “Mere air, these words, but delicious to hear.” The phrase inscribed into the cup, translated onto a museum label, stopped me cold. I paused for a long time to drink in the strange truth that all the sublimity of poetry comes down in the end to mere air and nothing more, to the sound of these words and no others, which are nonetheless delicious and enchanting to hear. Sappho’s lines (or the lines attributed to her) also have a lapidary quality. The phrase has an elegance suitable for writing, for inscription on a cup or in stone. Writing fixes the evanescence of sound. It holds it against death.

The sound of the words is the first primitive pleasure in poetry. “In poetry,” Wallace Stevens asserted, “you must love the words, the ideas and images and rhythms with all your capacity to love anything at all” (“Adagia”). Stevens lists the love of the words as the first condition of a capacity to love anything in poetry at all because it is the words that make things happen. There are times when I read a poem and can feel the syllables coming alive in my mouth, the letters enunciated in the syllables, the syllables coming together as words, the words forming into a phrase, the phrase finding a rhythm in the line, in the lines, in the shape of the words crossing the lines into a sentence, into sentences. I feel the words creating a rhythm, a music, a spell, a mood, a shape, a form. I hear the words coming off the page into my own mouth—in transit, in action. I generate—I re-create—the words incantatory, the words liberated and self-reflexive. Words rising from the body, out of the body. An act of language paying attention to itself. An act of the mind.

“Mere air, these words, but delicious to hear.” In poetry the words enact—they make manifest—what they describe. This is what Gerard Manley Hopkins calls “the roll, the rise, the carol, the creation.” Indeed, one hears in Hopkins’s very phrase the trills or rolled consonants of the letter r reverberating through all four words, the voiced vowels, the r-o-l of “roll” echoing in the back of “carol,” the alliterative c's building a cadence, hammering it in, even as the one-syllable words create a rolling, rising effect that is slowed down by the rhythm of the multisyllabic words, the caroling creation. The pleasure all this creates in the mouth is intense. “The world is charged with the grandeur of God.” I read Hopkins’s poems and feel the deep joy of the sounds creating themselves (“What is all this juice and all this joy?”), the nearly buckling strain of so much drenched spirit, “the achieve of, the mastery of the thing!”

The poem is an act beyond paraphrase because what is being said is always inseparable from the way it is being said. Osip Mandelstam suggested that if a poem can be paraphrased, then the sheets haven’t been rumpled, poetry hasn’t spent the night. The words are an (erotic) visitation, a means to an end, but also an end in and of themselves. The poet is first of all a language worker. A maker. A shaper of language. With Heinrich Heine, the linguist Edward Sapir affirmed in his book Language, “one is under the illusion that the universe speaks German.” With Shakespeare, one is under the impression that it speaks English. This is at the heart of the Orphic calling of the poet: to make it seem as if the very universe speaks and reveals itself through the mother tongue.
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[anna]

In Plain American Which Cats and Dogs Can Read!by Edward Hirsch

The lyric poem walks the line between speaking and singing. (It also walks the line between the conventions of poetry and the conventions of grammar.) Poetry is not speech exactly—verbal art is deliberately different than the way that people actually talk—and yet it is always in relationship to speech, to the spoken word. “It has to be living, to learn the speech of the place,” as Wallace Stevens puts it in his poem “Of Modern Poetry.” W. B. Yeats called a poem “an elaboration of the rhythms of common speech and their association with profound feeling” (“Modern Poetry”). W. H. Auden said: “In English verse, even in Shakespeare’s grandest rhetorical passages, the ear is always aware of its relation to everyday speech” (“Writing”). I’m reminded of the many poems in the American vernacular—from Walt Whitman to William Carlos Williams (“The Horse Show”), Frank O’Hara (“Having a Coke with You”), and Gwendolyn Brooks ("We Real Cool”)—that give the sensation of someone speaking in a texturized version of American English, that create the impression of letters written, as Marianne Moore joyfully puts it, “not in Spanish, not in Greek, not in Latin, not in shorthand, / but in plain American which cats and dogs can read!” A demotic linguistic vitality—what Williams calls “the speech of Polish mothers”—is one of the pleasures of the American project in poetry.

Here is the opening of Randall Jarrell’s poem “Next Day”:

Moving from Cheer to Joy, from Joy to All,
I take a box
And add it to my wild rice, my Cornish game hens.
The slacked or shorted, basketed, identical
Food-gathering flocks
Are selves I overlook. Wisdom, said William James,

Is learning what to overlook. And I am wise
If that is wisdom.
One hears in this poem the plaintive, intelligent voice of a suburban housewife who knows she has become invisible, who wants only to be seen and heard. What particularly marks the poem as a verbal construct is the self-conscious treatment of the words themselves, the way the words behave in rhythmic lines and shapely stanzas. There’s the delightful pun on the names of household detergents, the play off “hens” and “flocks,” the acute way the woman sums up her companions in the supermarket, how she pivots on the word “overlook” and ruefully quotes William James’s pragmatic American notion of “wisdom.” I’ve always been touched by the way Jarrell animates the woman’s voice in this poem, how he inscribes his own voice into her voice and captures the reality of someone who is exceptional, commonplace, solitary.
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[[星子安娜]]

In Plain American Which Cats and Dogs Can Read!by Edward Hirsch

The lyric poem walks the line between speaking and singing. (It also walks the line between the conventions of poetry and the conventions of grammar.) Poetry is not speech exactly—verbal art is deliberately different than the way that people actually talk—and yet it is always in relationship to speech, to the spoken word. “It has to be living, to learn the speech of the place,” as Wallace Stevens puts it in his poem “Of Modern Poetry.” W. B. Yeats called a poem “an elaboration of the rhythms of common speech and their association with profound feeling” (“Modern Poetry”). W. H. Auden said: “In English verse, even in Shakespeare’s grandest rhetorical passages, the ear is always aware of its relation to everyday speech” (“Writing”). I’m reminded of the many poems in the American vernacular—from Walt Whitman to William Carlos Williams (“The Horse Show”), Frank O’Hara (“Having a Coke with You”), and Gwendolyn Brooks ("We Real Cool”)—that give the sensation of someone speaking in a texturized version of American English, that create the impression of letters written, as Marianne Moore joyfully puts it, “not in Spanish, not in Greek, not in Latin, not in shorthand, / but in plain American which cats and dogs can read!” A demotic linguistic vitality—what Williams calls “the speech of Polish mothers”—is one of the pleasures of the American project in poetry.

Here is the opening of Randall Jarrell’s poem “Next Day”:

Moving from Cheer to Joy, from Joy to All,
I take a box
And add it to my wild rice, my Cornish game hens.
The slacked or shorted, basketed, identical
Food-gathering flocks
Are selves I overlook. Wisdom, said William James,

Is learning what to overlook. And I am wise
If that is wisdom.
One hears in this poem the plaintive, intelligent voice of a suburban housewife who knows she has become invisible, who wants only to be seen and heard. What particularly marks the poem as a verbal construct is the self-conscious treatment of the words themselves, the way the words behave in rhythmic lines and shapely stanzas. There’s the delightful pun on the names of household detergents, the play off “hens” and “flocks,” the acute way the woman sums up her companions in the supermarket, how she pivots on the word “overlook” and ruefully quotes William James’s pragmatic American notion of “wisdom.” I’ve always been touched by the way Jarrell animates the woman’s voice in this poem, how he inscribes his own voice into her voice and captures the reality of someone who is exceptional, commonplace, solitary.
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[anna]

Give a Common Word the Spellby Edward Hirsch

The medium of poetry is language, our common property. It belongs to no one and to everyone. Poetry never entirely loses sight of how the language is being used, fulfilled, debased. We ought to speak more often of the precision of poetry, which restores the innocence of language, which makes the language visible again. Language is an impure medium. Speech is public property and words are the soiled products, not of nature, but of society, which circulates and uses them for a thousand different ends.

Poetry charts the changes in language, but it never merely reproduces or recapitulates what it finds. The lyric poem defamiliarizes words, it wrenches them from familiar or habitual contexts, it puts a spell on them. The lyric is cognate with those childish forms, the riddle and the nursery rhyme, with whatever form of verbal art turns language inside out and draws attention to its categories. As the eighteenth-century English poet Christopher Smart put it, freely translating from Horace’s Art of Poetry:

It is exceedingly well
To give a common word the spell
To greet you as intirely new.
The poem refreshes language, it estranges and makes it new. (“But if the work be new, / So shou’d the song be too,” Smart writes.) There is a nice pun on the word spell in Smart’s Horatian passage since, as tribal peoples everywhere have believed, the act of putting words in a certain rhythmic order has magical potency. That power can only be released when the spell is chanted aloud. I’m reminded, too, that the Latin word carmen, which means “song” or “poem,” has attracted English poets since Sidney because of its closeness to the word charm, and, in fact, in the older Latin texts it also means a magic formula, an incantation meant to make things happen, to cause action (Andrew Welsh, Roots of Lyric). And a charm is only effective when it is spoken or sung, incanted.

The lyric poem separates and uproots words from the daily flux and flow of living speech but it also delivers them back—spelled, changed, charmed—to the domain of other people. As Octavio Paz puts it in The Bow and the Lyre:

Two opposing forces inhabit the poem: one of elevation or uprooting, which pulls the word from the language: the other of gravity, which makes it return. The poem is an original and unique creation, but it is also reading and recitation: participation. The poet creates it; the people, by recitation, re-create it. Poet and reader are two moments of a single reality.
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[[星子安娜]]

Give a Common Word the Spellby Edward Hirsch

The medium of poetry is language, our common property. It belongs to no one and to everyone. Poetry never entirely loses sight of how the language is being used, fulfilled, debased. We ought to speak more often of the precision of poetry, which restores the innocence of language, which makes the language visible again. Language is an impure medium. Speech is public property and words are the soiled products, not of nature, but of society, which circulates and uses them for a thousand different ends.

Poetry charts the changes in language, but it never merely reproduces or recapitulates what it finds. The lyric poem defamiliarizes words, it wrenches them from familiar or habitual contexts, it puts a spell on them. The lyric is cognate with those childish forms, the riddle and the nursery rhyme, with whatever form of verbal art turns language inside out and draws attention to its categories. As the eighteenth-century English poet Christopher Smart put it, freely translating from Horace’s Art of Poetry:

It is exceedingly well
To give a common word the spell
To greet you as intirely new.
The poem refreshes language, it estranges and makes it new. (“But if the work be new, / So shou’d the song be too,” Smart writes.) There is a nice pun on the word spell in Smart’s Horatian passage since, as tribal peoples everywhere have believed, the act of putting words in a certain rhythmic order has magical potency. That power can only be released when the spell is chanted aloud. I’m reminded, too, that the Latin word carmen, which means “song” or “poem,” has attracted English poets since Sidney because of its closeness to the word charm, and, in fact, in the older Latin texts it also means a magic formula, an incantation meant to make things happen, to cause action (Andrew Welsh, Roots of Lyric). And a charm is only effective when it is spoken or sung, incanted.

The lyric poem separates and uproots words from the daily flux and flow of living speech but it also delivers them back—spelled, changed, charmed—to the domain of other people. As Octavio Paz puts it in The Bow and the Lyre:

Two opposing forces inhabit the poem: one of elevation or uprooting, which pulls the word from the language: the other of gravity, which makes it return. The poem is an original and unique creation, but it is also reading and recitation: participation. The poet creates it; the people, by recitation, re-create it. Poet and reader are two moments of a single reality.
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[anna]

by Edward Hirsch

The transaction between the poet and the reader, those two instances of one reality, depends upon figurative language—figures of speech, figures of thought. Poetry evokes a language that moves beyond the literal and, consequently, a mode of thinking that moves beyond the literal. “There are many other things I have found myself saying about poetry,” Robert Frost confesses in “The Constant Symbol,” “but chiefest of these is that it is metaphor, saying one thing and meaning another, saying one thing in terms of another, the pleasure of ulteriority.” Poetry is made of metaphor. It is a collision, a collusion, a compression of two unlike things: A is B. The term metaphor comes from the Latin metaphora, which in turn derives from the Greek metapherein, meaning “to transfer,” and, indeed, a metaphor transfers the connotations or elements of one thing (or idea) to another. It is a transfer of energies, a mode of interpenetration, a matter of identity and difference. Each of these propositions about the poem depends upon a metaphor: the poem is a capsule where we wrap up our punishable secrets (William Carlos Williams). A poem is a well-wrought urn (Cleanth Brooks), a verbal icon (W. K. Wimsatt). A poem is a walk (A. R. Ammons); a poem is a meteor (Wallace Stevens). A poem might be called a pseudoperson. Like a person it is unique and addresses the reader personally (W. H. Auden). A poem is a hand, a hook, a prayer. It is a soul in action.

When Paul Celan wrote, “A poem . . . can be a message in a bottle,” he didn’t think literally that he would be dropping his poems into the Seine (though he was writing them from Paris) and that someone might find them floating ashore on the banks of the Chicago River (though I was living in Chicago when I first read him). What did he mean then?

The language of poetry, Shelley claims in his Defence of Poetry, “is vitally metaphorical; that is, it marks the before unapprehended relations of things and perpetuates their apprehension.” Shelley is suggesting that the poet creates relations between things unrecognized before, and that new metaphors create new thoughts and thus revitalize language. In his fine book Poetic Diction, Owen Barfield remarks that he would like to change one detail in Shelley’s phrase, to alter “before unapprehended relations” to “forgotten relations.” That’s because poetry delivers back an archaic knowledge, an ancient and vitally metaphorical way of thinking, now mostly lost. The poet, by creating anew, is also likely to be “restoring something old.”

The oldest English poetry, for example the Anglo-Saxon Beowulf and poems written in other old Germanic languages, has a number of poetic tropes that enable the poet to describe things at an angle, without naming them, and thus invite the listener to imaginatively construct them. The most widespread are known as kennings; these occur in compounds, such as calling the sea swanrad (“swan-road”) or winegeard (“home of the winds”). The word ken, meaning “to know,” is still used in Scottish dialects, and indeed such figurative language is a way of knowing.

What especially concerns me here is how the reader actively participates in the making of meaning through metaphor, in thinking through the relation of unlike things. How do we apprehend these previously unapprehended or forgotten relations: in ironic tension, in exact correspondence, in fusion? The meaning emerges as part of a collaboration between writer and reader. Out of this interactive process comes the determination to what extent a metaphor works, where it breaks down, to what extent a poem can be a message in a bottle, or a machine made out of words (Williams), or a derangement of the senses (Rimbaud); to what extent “a book is a cubic piece of burning, smoking conscience—and nothing else” (Boris Pasternak); to what extent, as Shelley writes,

A poet is a nightingale, who sits in darkness and sings to cheer
its own solitude with sweet sounds; his auditors are as men entranced
by the melody of an unseen musician, who feel that they
are moved and softened, yet know not whence or why.
The singing of a nightingale becomes a metaphor for writing poetry here, and listening to that bird (that natural music) becomes a metaphor for reading it. One of the premises of Shelley’s metaphor is that the poet “sings” in “solitude” without any consideration for an audience and that the audience—“his auditors”—responds to the work of an “unseen musician.” They can’t actually see him because they are physically removed from each other. And yet they are brought into mysterious (visionary) relation.

The philosopher Ted Cohen suggests that one of the main points of metaphor is “the achievement of intimacy.” Cohen argues in “Metaphor and the Cultivation of Intimacy” that the maker and the appreciator of a metaphor are brought into deeper relationship with one other. That’s because the speaker issues a concealed invitation through metaphor which the listener makes a special effort to accept and interpret. Such a “transaction constitutes the acknowledgment of a community.” This notion perfectly describes how the poet enlists the reader’s intellectual and emotive involvement and how the reader actively participates in making meaning in poetry. Through this dynamic and creative exchange the poem ultimately engages us in something deeper than intellect and emotion. And through this ongoing process the reader becomes more deeply initiated into the sacred mysteries of poetry.
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[[星子安娜]]

by Edward Hirsch

The transaction between the poet and the reader, those two instances of one reality, depends upon figurative language—figures of speech, figures of thought. Poetry evokes a language that moves beyond the literal and, consequently, a mode of thinking that moves beyond the literal. “There are many other things I have found myself saying about poetry,” Robert Frost confesses in “The Constant Symbol,” “but chiefest of these is that it is metaphor, saying one thing and meaning another, saying one thing in terms of another, the pleasure of ulteriority.” Poetry is made of metaphor. It is a collision, a collusion, a compression of two unlike things: A is B. The term metaphor comes from the Latin metaphora, which in turn derives from the Greek metapherein, meaning “to transfer,” and, indeed, a metaphor transfers the connotations or elements of one thing (or idea) to another. It is a transfer of energies, a mode of interpenetration, a matter of identity and difference. Each of these propositions about the poem depends upon a metaphor: the poem is a capsule where we wrap up our punishable secrets (William Carlos Williams). A poem is a well-wrought urn (Cleanth Brooks), a verbal icon (W. K. Wimsatt). A poem is a walk (A. R. Ammons); a poem is a meteor (Wallace Stevens). A poem might be called a pseudoperson. Like a person it is unique and addresses the reader personally (W. H. Auden). A poem is a hand, a hook, a prayer. It is a soul in action.

When Paul Celan wrote, “A poem . . . can be a message in a bottle,” he didn’t think literally that he would be dropping his poems into the Seine (though he was writing them from Paris) and that someone might find them floating ashore on the banks of the Chicago River (though I was living in Chicago when I first read him). What did he mean then?

The language of poetry, Shelley claims in his Defence of Poetry, “is vitally metaphorical; that is, it marks the before unapprehended relations of things and perpetuates their apprehension.” Shelley is suggesting that the poet creates relations between things unrecognized before, and that new metaphors create new thoughts and thus revitalize language. In his fine book Poetic Diction, Owen Barfield remarks that he would like to change one detail in Shelley’s phrase, to alter “before unapprehended relations” to “forgotten relations.” That’s because poetry delivers back an archaic knowledge, an ancient and vitally metaphorical way of thinking, now mostly lost. The poet, by creating anew, is also likely to be “restoring something old.”

The oldest English poetry, for example the Anglo-Saxon Beowulf and poems written in other old Germanic languages, has a number of poetic tropes that enable the poet to describe things at an angle, without naming them, and thus invite the listener to imaginatively construct them. The most widespread are known as kennings; these occur in compounds, such as calling the sea swanrad (“swan-road”) or winegeard (“home of the winds”). The word ken, meaning “to know,” is still used in Scottish dialects, and indeed such figurative language is a way of knowing.

What especially concerns me here is how the reader actively participates in the making of meaning through metaphor, in thinking through the relation of unlike things. How do we apprehend these previously unapprehended or forgotten relations: in ironic tension, in exact correspondence, in fusion? The meaning emerges as part of a collaboration between writer and reader. Out of this interactive process comes the determination to what extent a metaphor works, where it breaks down, to what extent a poem can be a message in a bottle, or a machine made out of words (Williams), or a derangement of the senses (Rimbaud); to what extent “a book is a cubic piece of burning, smoking conscience—and nothing else” (Boris Pasternak); to what extent, as Shelley writes,

A poet is a nightingale, who sits in darkness and sings to cheer
its own solitude with sweet sounds; his auditors are as men entranced
by the melody of an unseen musician, who feel that they
are moved and softened, yet know not whence or why.
The singing of a nightingale becomes a metaphor for writing poetry here, and listening to that bird (that natural music) becomes a metaphor for reading it. One of the premises of Shelley’s metaphor is that the poet “sings” in “solitude” without any consideration for an audience and that the audience—“his auditors”—responds to the work of an “unseen musician.” They can’t actually see him because they are physically removed from each other. And yet they are brought into mysterious (visionary) relation.

The philosopher Ted Cohen suggests that one of the main points of metaphor is “the achievement of intimacy.” Cohen argues in “Metaphor and the Cultivation of Intimacy” that the maker and the appreciator of a metaphor are brought into deeper relationship with one other. That’s because the speaker issues a concealed invitation through metaphor which the listener makes a special effort to accept and interpret. Such a “transaction constitutes the acknowledgment of a community.” This notion perfectly describes how the poet enlists the reader’s intellectual and emotive involvement and how the reader actively participates in making meaning in poetry. Through this dynamic and creative exchange the poem ultimately engages us in something deeper than intellect and emotion. And through this ongoing process the reader becomes more deeply initiated into the sacred mysteries of poetry.
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[Lake]

I have his book "How to Read a Poem" and have read it twice. Will read it again if I have some more spare time.

[[Lake]]

I have his book "How to Read a Poem" and have read it twice. Will read it again if I have some more spare time.

[anna]

Hi Lake,

I don't have his book. I will try to buy one.

I do agree with him a lot.

Anna
_________________
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Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[[星子安娜]]

Hi Lake,

I don't have his book. I will try to buy one.

I do agree with him a lot.

Anna
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[anna]

http://www.poetryfoundation.org/journal/article.html?id=238724
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[[星子安娜]]

http://www.poetryfoundation.org/journal/article.html?id=238724
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com