Concluding September

Well, a time of finishings.

The New York Sun is closing down today. It was good while it lasted. I have a list of newspapers online through which I glance every day and the New York Sun was one of those. One of the writers whose criticism I’ve found awfully useful, instructive and interesting is Adam Kirsch. I’m sure he’ll have no trouble finding a job somewhere else, but it is pretty safe to say he’s no longer employed as a book critic for the New York Sun.

Another finishing is the happy and sad finishing of a good book. As my wife lingered at Half-Wit a few weeks ago I prolonged my searches and found a book of essays by Joseph Epstein. I discovered Adam Kirsch by way of the New Criterion. The first issue of the New Criterion I received came with a great essay by Epstein from which I determined that here was a writer I needed to read. So I have put away a couple of volumes of his essays—I believe he has five or so out. My favorite so far has been the one I just finished entitled Narcissus Leaves the Pool. Why do I enjoy these essays? Well, he can write very well, informally—the essays are personal essays, with insight into literature and art, into human nature—usually by way of his foibles, the nature of friendship, and all the rest.

Are there any Gentiles writing anything worthwhile?

Owen Barfield is dead. I did finish his What Coleridge Thought, at last. It was a project of August, but so difficult and uncharacteristically unyielding that it took some plodding. It is the sort of book I will have to go back to for round two once I have had a round or two at the Biographia Literaria and others of Coleridge’s writings. Still, there is a sense in which there was only one thing preoccupying Owen Barfied and one thing about which all his books are the restatement. This book is the least approachable, but still worthwhile.

We finished another visit to Duluth. It entailed much walking in Superior, WI, in neighborhoods of decent but noticeable decay, around the center of town where there is much that is old. We were in Superior because I found an internet special for a place called the Superior Inn which I do not recommend unless your only considerations are pecuniary. Ours cannot have been said to be, but for some reason my wife’s congenital frugality was hanging like a pall over the preparations, and perhaps my occasional and short-lived however intense pangs of fiscal conscience may have been in operation at the time—I am prepared to deny it. I can say we are finished with the Superior Inn.

I don’t know if this is at all certain and have the feeling it is not, but it may be the last time I attend the Old Chicago in Duluth. We had spectacularly bad service—long waiting and cold food. I was so put out I short-tipped and I am not inclined to take things out on waiters. I have had bad service elsewhere in Duluth at 4:30 on a Saturday afternoon and have punished the Green Mill there by only returning once when there was such a throng at Old Chicago on a Thursday evening that the waiting could not be contemplated. The thing about Old Chicago is that it is in such an immense warehouse of a space, so uncrammed and usually with adequate service—in short, the ideal restaurant—that I do not look forward to punishing them by withholding from them my patronage. Still, I might.

We finished listening to The Silver Chair. We have found nothing makes a road trip go by like the Chronicles of Narnia. At least, I have found that. I ought to have taken two of them because the total trip was enough to listen to two. Instead I had Brahms who was very fine and to whom I am still listening. I do not think, no matter how many times I read it, I will ever stop laughing at the things Puddleglum says. It also seems to me that when it comes to ending books few end things as well as CS Lewis ended things. I will say that his remarks about the diet and meals of centaurs, perpetrated by the faun, constitute a lapse of imagination in my judgment. I think he had been enjoying Puddleglum so much that he decided he’d try a little of the same with centaurs and failed.

We have shut our windows. They have been open all September without interruption.

But I am tired of writing this and will make it another of my finishings, for now.

Concluding Advice

I have begun reading Cleanth Brook’s The Well Wrought Urn and have concluded with much pleasure the chapter on MacBeth. It contains instruction on all of life. How Shakespeare makes of a baby a symbol of the untrammeled consequence (yes, consequence not consequences though it might be that too) of the future opens the eyes at many levels.

* * *
Some of the ash have reached that stage made rare by transience at which they are evenly mingled green and gold. How quickly it goes when it begins, the changing of the leaves. The seedy and despondent look of the elms two days ago is now shown to be the encroaching burgundy left by the retreating chlorophyll.

We go north to see the sight of it. This is no season to be passed all indoors. It is the season when the air is full of leaves; when the earliest of them in places gather with that early fragrance of tea. Autumn is the season of memories because of all the senses, it seems to me, smell is most like memory and Autumn comes with all its various fragrances. I love to smell it.

Inside the apples, cinnamon, nutmeg and clove of cider.

I do remember from sixth grade how surprising when we went to go rake oak leaves in my friend’s grandmother’s yard to find how bad they smelled. It was not exactly unpleasant, just surprisingly bad, after having lain a while to molder in the rain. And yet that was also the year we went in the clear cool to have a picnic, bundled sort of, colder than at other times of my remembering, but wonderfully outside. The smell of that is one of the first things about the fall that I remember: the smell of being in the woods during that early cold. I have never again smelled the smell of those oak leaves, surprisingly, but it is with me and perhaps one day I will again.

A Timely Lecture

I’m burned out on politics and the discussions and people being angry about the economy because they just won’t be as wealthy as formerly and perhaps might even experience some poverty. I hate poverty as much as the next person but it isn’t the end of the world. So it was good to hear something of substance here. It is a lecture on the Romance of Conservatism, that, while not stellar, touches on all the old themes and reminds one of permanent things at a time when there is little attention being paid to permanent things.

Desires of the Unexamined Life

Is not autumn the season of our valedictions and the portal to the world’s house of mourning where wisdom goes?

Already the elms have a weary and seedy look about them. The ashes hang among their green abrupt bursts of yellow, and the cottonwoods have similar bright yellow patches high above. I have noticed that the pines have suddenly sprinkled the green lawns with needles, and it makes me wonder if they molt. The oaks, the tightfisted oaks continue unperturbed and crooked. Some maples are far gone, some appear confused, some serenely colored, some completely unaffected and dense and dark—if they are maples. The river birches—trees of Brooklyn Center’s public places—now begin the dirty counterfeiting of their leaves. They have a way, their leaves, of turning meager, yellow and spotted with brown, of withering without splendor.

Shingle Creek is flowing high and mostly clear of scum. The secret fish I think are waiting in underwater ranks away north of Palmer Lake. The lawns around the creek are deep and green—it makes me think that mowing them barefoot would well stain the feet green. While the lawless cattails wither and the wild growth of wanton summer now grows frail and fails, the tamed lawns are bright with new grass and even in places show the mocking, imitation ghosts of another recent crop of dandelions.

Here we are in the midst of a life that is all ours. A life that is for every person great or small. A life in which every life has been dignified by being, pinned into existence by the love of God and given undeniably everything individually. The sun shines on us with unmitigated splendor as the year declines.

The sinking sun lighted up a sky all consequential with great clouds heading out of the west in fleets that half obscured and half disclosed the many shades of blue behind them. Later, when the sun was gone, the western sky was dappled with smaller clouds while the retrospective east was rippled with pale fringes in the assimilating darkness.

And then I saw directly overhead a star. If my desire could have overcome my gravity I would have risen swiftly and in one eternal instant, growing with the speed of the journey, been with the star and held it to look into that undying fire like a jewel, while far away my body crumpled on the sidewalk in the twilight.

Holy Sonnet VIII

If faithful souls be alike glorified
As angels, then my fathers soul doth see,
And adds this even to full felicity,
That valiantly I hells wide mouth o’erstride:
But if our minds to these souls be descried
By circumstances, and by signs that be
Apparent in us, not immediately,
How shall my mind’s white truth by them be tried?
They see idolatrous lovers weep and mourn,
And vile blasphemous conjurers to call
On Jesus name, and Pharisaical
Dissemblers feigne devotion. Then turn,
O pensive soul, to God, for he knows best
Thy true grief, for he put it in my breast.

—John Donne

Ambition and Survival by Christian Wiman

If you want to understand something about modern poetry this is a good book to read. I understand a little better having read it. And it is good just for understanding things about poetry in general and for understanding poets of all the ages in general. Wiman is a poet, a critic, an editor of a magazine dedicated to poetry. But that isn’t why the book is good for helping you understand modern poetry, even though it helps. Maybe he could be all those three things without having the qualities that really make his book worthwhile. The qualities he has that also no doubt make him a better poet, critic and editor of a magazine are that he is sensible, he understands, and he is devoted.

I don’t simply mean that someone who is sensible is someone who, however tediously, makes sense. If a person cannot be interesting, if they cannot hold your attention and put things well, then I do not count them very sensible. I am of the school that understands Elinor Dashwood to be sensible because she had proper sensibilities, not exaggerated and unmeasured ones. I am not of the school that understands sense as opposed to sensibility. Wiman has both delicate and disciplined sensibilities. I do not mean he has sensibilities or even judgments all of which one can agree with, but that there is a general impulse not to stifle, but to discipline and sensibly order things. There is a sense of reality even if sometimes it comes close to being dogged. Even in the chapter on Reading Milton in Guatemala, a chapter inferior to the rest of this very good book, he comes out with the wonderful suggestion of this sentence: “I first fell through the surface of Paradise Lost early one morning of the dirt roads at the outskirts of Antigua.”

That he understands has something to do with the honesty that discards the inauthentic and forms proper judgments. I am impressed by the judgments delivered, the reasons, the explanations. When he most impresses me is when he talks of religion. He is an unbeliever, but an unbeliever who has lost his faith, not a person who never believed to begin with. He seems haunted by the absence of God and explains it throughout the book. It appears to be the main event of his life, from what I can gather out of the bits of autobiography of this collections of essays and reviews. Not that it comes up in everything—he has plenty of other interests and mysteries to wonder about, but it does come up repeatedly. When he talks of religion he does not always talk in ways I can agree, but he talks in ways I can understand. Perhaps one day he will believe again—although it is not his point to suggest this. He also impresses in his explanations and understanding of poets and of literature in general; I find his judgments persuasive. Here is how he ends a rather apt section that has been considering McCarthy’s Blood Meridian (I quit less than halfway through that bloodbath), acknowledging the achievement but refusing to settle merely for what it achieves: “One task of art is to articulate the missing links between the self and the world. Another task of art—a higher task, I would say—is to forge new ones.”

And he is devoted to poetry. Hence the title Ambition and Survival: Becoming a Poet. The subtitle is not meant to advertise the book as advice but rather to indicate its autobiographical tendencies. I think devotion has much to do with the rigor of his expectations. Actually I think it explains why he is both sensible and understanding as I have described him above. It seems to me rare in the age of the workshop and the gratuitous congratulation, and refreshing.

I have found the book hard to put down both because of how it is written and because of what it treats. I recommend it to anybody seriously interested in poetry and to anybody who wants a glimpse into how the better critics are thinking (I have a book of his poetry on order from the library to see if I can also recommend this one as a book that gives a glimpse into how the better poets of our day are thinking).

A Return to the Unexamined Life

I’ve been reading Faulkner.

Here is an imitation that I will call, The Road:

It ran through the torpid land like a raw wound, and he uttered innumerable cries of self-accusing and imprecatory anguish as he followed its recumbent, unavailing dust.

Here it is as doggerel:

It ran through the torpid land
like a raw and aching wound,
and he uttered his cries
like innumerable flies
self-accusing and cursing them both.
So he followed the torpid road
through the pale, unavailing dust,
low, long and anemic
altogether un-scenic,
both longing to go and loath.

* * *

I’ve also been reading this chap on poetry. Christian Wiman. I saw his book was recommended by one of the sources I consider reputable and I have found him most reliable even though he is part of the poetry publishing industry.

I have not been reading much poetry.

I’ve taken two weeks off from the intensity of accomplishment so that I might rest and prepare to teach, but now the desire for resting has been squandered on things that come up and the kinds of activities from which no human without servants can entirely escape but often amount to so little.

* * *

The New Criterion is renewed and it comes with much pleasure for me. It is one of those comfortable things, like listening to Bach, in which there is always the astonishment and never disappointment. Well, that is Bach, but not quite the NC. Still, it is close.

* * *

September has brought with it a few grey days, some rain and even pretty steady rain at times, but September has been warm with us. Not hot though, just warm and mostly dry, though it seems much of the dry grass has been renewed. Still the warm is wearing at me. Twelve hours of sun and twelve without, though, and the sun in losing its hold more. That ought to change some things.

* * *

I have been engaged in some manual labor from which I return without much in the way of insight. I suppose I would need to become familiar with it enough to do it more automatically and thus reflect on doing it, rather than just concentrating on doing it. I hope it never reaches that stage.

A Footnote That’s Interesting

It is no less an error in teachers, than a torment to the poor children, to enforce the necessity of reading as they would talk. In order to cure them of singing as it is called, that is, of too great a difference, the child is made to repeat the words with his eyes from off the book; and then, indeed, his tones resemble talking, as far as his fears, tears and trembling will permit. But as soon as the eye is again directed to the printed page, the spell begins anew; for an instinctive sense tells the child’s feelings, that to utter its own momentary thoughts, and to recite the written thoughts of another, as of another, and a far wiser than himself, are two widely different things; and as the two acts are accompanied with widely different feelings, so must they justify different modes of enunciation. Joseph Lancaster, among his other sophistications of the excellent Dr. Bell’s invaluable system, cures this fault of singing, by hanging fetters and chains on the child, to the music of which one of his school-fellows, who walks before, dolefully chants out the child’s last speech and confession, birth, parentage, and education. And this soul-benumbing ignominy, this unholy and heart-hardening burlesque on the last fearful infliction of outraged law, in pronouncing the sentence to which the stern and familiarized judge not seldom bursts into tears, has been extolled as a happy and ingenious method of remedying–what? and how?–why, one extreme in order to introduce another, scarce less distant from good sense, and certainly likely to have worse moral effects, by enforcing a semblance of petulant ease and self- sufficiency, in repression and possible after-perversion of the natural feelings.

—S.T. Coleridge, Biographia Literaria, XVIII

New Directions

It is hard to know in any useful way what sort of chaps we are. At least it is hard to know enough to know exactly how to proceed. It is all very well to know oneself in the general way that humans ought to know what the human condition is. It is also well to know how one is weak and contemptible, and also, if at all possible, what things one ought to avoid as unlikely to succeed in and from which one will derive no profit. Still, there remains a certain mystery, and it does not help one to pretend to certainty in matters about which one is uncertain. To be in time is, it seems to me unavoidable, to be characterized by becoming: so we change.

We are so used to change, some of us, that we are like people who are not used to it and are not so fond of it: both of use want things to continue they way they have been. Becoming too familiar with any one place is an unfamiliar thing for me. I have been living in the Twin Cities for nine years and it is the longest I have ever remained in any one place. We have moved two times since coming, and I still do not want to own a house and find myself tied down (or regularly engaging in the pointless exercise of mowing a lawn since one is unlikely to avoid it without extra expense). Nor do I want to live frugally so as to afford a miserable, small house: that would be no satisfaction, only double and pointless self-denial.

Which brings me to what I wanted to write about. I do not make that much money but I make more than I really have any skills for. I work at a computer and I really was not even good at typing and had very little idea of how to make any profitable use of a computer when I first started working in a place that required me to compute. I have not improved that much, having little natural curiosity about computers and machines, but have improved enough where my lack of skill is not immediately noticeable. I am the sort of person naturally qualified to live in a tenement and in another age I probably would have lived in one, but have been spared and I live in a better place than one would think and with more books than I expected. In a better age I would have been born to be a servant or a slave (and probably a mediocre one at that), but I was born to a lesser age: an age not for great men but for mediocrities and lesser men. It is very gratifying. I have had for the past three years a glorious, entry-level job (I suppose it is something to my credit that I have managed to keep the same entry-level job so long) that has been gradually diminishing and vanishing.

Last Monday the job vanished under me, and by the end of the week my new direction was decided. Now I have a job that is a little bit more intellectually engaging (I have been assured by at least two people that this is a good thing, but how, I would like to know, am I going to be able to listen to recorded books, Prime Minister’s questions, sermons and lectures while working a job that requires intellectual engagement? And how productive will I be in the real pursuits I engage in after work if I have to squander the energies of my mind on a job?). Well, it was time for a change. And so decided am I on a change that the allure of having four ten-hour shifts and being away from meetings and office politics caused me to settle favorably on the notion of working from 10PM till 8AM.

This is why I started out this little essay the way I did. Long, now, have I lived the settled ways. We learn from suffering to mitigate it by avoiding things that bring suffering to pass. Going to bed early and avoiding loss of sleep is a way to mitigate a certain form of suffering. And yet it seems to me after nine years of doing this pretty constantly, that sometimes not only suffering is mitigated, but pleasures are sacrificed. At least, sometimes, valuable experiences might be foregone by such proceedings. So it is time to shake things up a little; to become, after so many years, again acquainted with the night; to be able to walk outside on a winter night at 3AM and look at the moon on the snow; to drink the midnight coffee. Who knows? I may even chance again to see the stars. I think I would enjoy that.

It will not start till I am trained, and since my level of skill is remarkably low it will probably take me three weeks or more to be trained. But after that darkness will come for the Unexamined Life. Perhaps, after all, this is the sort of chap it will turn out that I am.

Late Summer/Early Fall

September is growing long; the leaves are in their early turning—some few, confused trees have almost finished; the warmth of daylight has less purchase on the advancing cool of night. The vines, like nets are cast over the lowest limbs of trees and cover over the lower brush, aspiring high into some places where the sunlight reaches slanting in. The patient firs are filled with sun inside their shelves. We stand on the cusp of fall and on the last border of the summer.

Contentment is about that space between the departure of the past and the arrival of the future. It is always around us but sometimes seems so narrow it is hard to notice. Summer with its fruitfulness has yielded, has survived the drought and wanes with the last reek and twitter and leaves waving without vigor in clear sunlight. All the lawns are green, restored for fall which now we await with a new and disinterested longing. Already there are times when coming around a bend the path before is all strewn with leaves.

The earth beneath us whirls, giving us the sweet variety of seasons. And all we have to do is ride.

Personal Development of a Poet

It seems to me this is something true about all the best art: it is more than a surface; it is always an insight. If poetry is like a pond, with a surface and with depth, if it is a way to say something that says more in the way it is said than in the bare statement, then what inference can be drawn about the poet? That they struggle for the means of saying. That is their chief concern and the point of their work.

You do not read long in criticism before you pick up the idea that poets develop. They develop as they mature in their understanding of life. There is a certain deepening of their vision, or a change in it that might be a loss, or another line of sight. From what I can tell of having read several lengthy analyses of the lives and works of poets, their creative output is often faced as a series of problems. There is something they must struggle to overcome, and in the struggle they learn how they want to say what they say. Once the thing is conquered it appears to be no longer viewed with the same intensity as before; they concentrate on something else. Eliot seems to think of it (with his typical exhaustion) as another sort of loss:

So here I am, in the middle way, having had twenty years -
Twenty years largely wasted, the years of l’entre deux guerres -
Trying to learn to use words, and every attempt
Is a wholly new start, and a different kind of failure
Because one has only learnt to get the better of words
For the thing one no longer has to say, or the way in which
One is no longer disposed to say it.

Some were more satisfied with their results. All of them required a certain mystery, a depth into which to gaze. This is what most strikes me about what little I know of Blake, what I know of Yeats and his notions. One reads a poet like Crashaw (and wonders if he was not complacent) wondering what it was made the appeal of Metaphysical poetry until one remembers Eliot’s explanation: they had the feeling of an integrated order that provided the insight. With the Romantic poets it was the insight of consciousness, of their apprehension of the perceiver in the experience of the world and the real union of man and nature. Owen Barfield explains how Coleridge found in man the recapitulation of that manifestation of an active power, an impulse which is the nature of nature. They all needed something more: some philosophy, some system, some metaphysical dream of the world (I suppose) into which they looked as a way of seeing into the realm of truth. I am really taken with the vision of some minor English poets who seem to have formed their sensibilities at the end of that already disintegrating lavish age of the 19th Century and the early 20th.

Like the Touch of Rain

Like the touch of rain she was
On a man’s flesh and hair and eyes
When the joy of walking thus
Has taken him by surprise:

With the love of the storm he burns,
He sings, he laughs, well I know how,
But forgets when he returns
As I shall not forget her ‘Go now’.

Those two words shut a door
Between me and the blessed rain
That was never shut before
And will not open again.

—Edward Thomas

The sense of loss is deepening, but they have a world of elegance that commands great delicacy and a depth of feeling that is true. Then Eliot comes on the scene, perpetually ancient, learned and weary from his youth. And the point is that they all come to grips with something in their time, something about their age which is itself developing, spanning the lives of the poets themselves.

So that is how I would put it.

* * *

Curious, looking on what I mention, being careful, mostly, and mentioning that which I am pretty sure I know, how it can be made to work out to a common Romanticism. It seems to me that unless the age is romantic in some sense, characterized by longing rather than contentment and emphasizing feeling rather than thinking, more wet than dry, more wild with an impulse for growth than tame with an imposed order, it is of not much use to my theories.

My wife just asked me to change the music. I thought of the three greatest and whom I most enjoy: Bach, Beethoven, Brahms. Of the romantic impulse all. Bach with all the proliferating adornments, his rich, various and exuberant baroque: what else can it be? Romantic. Like Donne, Beethoven, Shakespeare and all the best. No doubt I am being unscrupulous at this point.

Psalm 134

A Song of Ascents

Behold.

Bless the Lord
All servants of the Lord
Who stand in the house of the Lord
When it is dark.

Raise your hands in that holy place
and bless the Lord.

The Lord bless you from Zion
who made heaven and earth.

September Correspondence

My dear Criten,

The great thing about the letters of CS Lewis is how full they are of the pleasure of books. Of his way of thinking, or the changing of his opinions, of things curious, love of nature, thoughts on persons, way of life and other things they are full. But you can usually count on learning something interesting about the books he read, how he liked them, what he thought of their authors.

What is remarkable is how frequently one can read his books and, if one pauses sufficiently in between readings—which means that one has to find the proper rhythm for re-reading—they are full of interest each time around. There are some books one can get and exhaust in one reading. I think also that the style in which the author writes has a great deal to do with it.

Speaking of style I have been reading an essay by Joseph Epstein. Now there is a chap whose style is such as will compel one to reading again. I do not know if the content is such as will sustain multiple readings, but it is not worthless at all the first time around. I don’t think I have learned entirely how to tell if a book will support re-reading or not. Some one knows right away. Some, however, one might think one knows and not know. Still others, such as the books I’ve read by Epstein, seem to me to be full and worthwhile. I suppose the only way to find out is to see several years down the road if I find myself assailed by those memories that form the craving which leads us to find the book and take the book again. It makes me think that the suggestion of such a craving when it is frustrated leads us to search of similar kinds of books; this can lead to better things sometimes.

It is like the genre of Fantasy. I thought of this while listening to a piece of modern music a week ago. It was a modern piece. I don’t mind modern pieces as long as they are good, but this one suffered of nothing so much as excessive prolongation—about forty minutes too long. It made me think the chap had talked to all the other chaps who were in concentration camps and underwent great horrors and privations and then he tried to write the music they would have. It was inauthentic and full of nothing so much as tricks. He was at his best when attempting to write more pleasant music, but this tended to suggest his talents might have been better employed in writing scores for films rather than music for the concert hall. In so much of the genre of Fantasy, it seems to me, we are attempting to capture the mood and feeling of what we get from another book rather than to see for ourselves the wonders and so provide an authentic mood and feeling. In short: it is entirely derivative.

And clearly there is a pleasure in that. I don’t see why everything derivative should be scorned. Only that it is cloying in great quantities. One of the more pleasant experiences of reading a work of Fantasy, though not in the category of the most pleasant, was in reading a work that even I at the time recognized as clearly derivative. And it turned out to be a book that lost much of its pleasure in re-reading. It was only a reveling in something more strong and authentic in another place, because the other place had the true vision of the thing and the derivation was only a memory of the feeling of the vision.

I read A House for Mr. Biswas (how are you doing down there anyway? I never though you would bring yourself to spend three months straight in the Caribbean) and it is full of life. It is a bit haunting, and a bit tedious and very funny if one can remain detached in a way one sometimes wonders might actually encourage cruelty and ought to be avoided although still amusing otherwise, and almost tragic of only the characters were greater, which they cannot be, and written in a style that is devoid of any flash of ornament or rhetorical flourish. All is achieved by careful arrangement, by understatement and proper measure of placement and detail. I suppose that amounts to a style that is, in a way austere, although it never struck me as austere as I was reading it. It was a style I’d be inclined to call sardonic, which is much in keeping with the theme of the book. A curious thing, and something I would like to observe in the next book I read by the author. I want to try A Bend in the River.

Lucky seems to have vanished but I am sure he sends his love. I really wonder if you have not lost all your marbles spending so much time away from the North like that. I can see, however, that it would be pleasant to be among the windblown palms, near the ocean, however warm, and to dwell among cool, shady places. Nowadays much of that is ruined by air conditioning too. It will be good for the sea shell collection, I suppose. Are you still doing that?

Yours Faithfully, etc.

Technical matters

I find that when I started this inquiry of the poetical, back in the raw of summer, I knew much more about poetry than I do today. When I consider the heading before me, and the general advice I left to myself when first I made the outline, I am baffled. This is how I gave myself instruction:

4 Technical matters.
—mostly how that is a place of great early effort.

Now it is very true that a person ought to start out with technical matters, it seems to me. In everything one ought to master first the means before one proceeds to take a clear whack at the ends. A good builder of a bridge ought to know something about the individual processes involved (nailing things springs to mind as an example of something one ought to know about before endeavoring to build most sorts of bridges) before attempting something for public use. The discipline of metrical language and of various meters strikes me as foundational and technical. But beyond that, I cannot think of anything to say.

What does one say of the technique for using alliteration? It does not seem to me the sort of thing one studies, but rather the sort of thing one feels one’s way into. That seems a lot like meter only that it seems to me harder to measure and observe. You can count meter and in that way it is unlike other poetic techniques. But you also have to listen to meter and feel it under the rhythm and in that way it is like other techniques: something you have to feel your way into and learn to judge not only by study and scrutiny, but by the repetition of practice and illative instruction.

I think I may have had in mind, back when I gave myself those instructions, now that I reflect on it some more, something that W.H. Auden said. He said that the young poet is concerned with acquiring technique and mastering it; in other words the attention of a young poet is on technique. An older poet is less concerned with these things and can take other things into better consideration, his use of technique being habitual, more precise, masterly—an older poet that is good, that is. Auden had Shakespeare in mind, and Shakespeare, in case you were wondering, was about as good as they get.

Speaking of technique, Robert Penn Warren has an excellent little essay First Principles on Relevance Without Meaning in which he mentions that when he was the Consultant in Poetry at the Library of Congress a captain called him to ask about the meter of a poem he was composing for his troops. (Besides the anecdote, the article contains worthwhile advice to people who wish to live wisely in our times.)

Some Idle Days

I have been in good and in high spirits for a long while. And now weariness, and turmoil and too much of musing without any clear and proper thinking.

But there are pleasures: the rain trickling down, falling, everywhere noticed though I have not had time to pause and watch it very long. The sun after the rain and the clouds in a clearing sky. The regathering clouds and the winds that are so indifferent. The spending of time in places in plain view that are seldom noticed, places of regular neglect and meager attentions such as fill up cities: dark places, quiet places, where the sun sometimes comes, the spider makes webs, the rain drips nearby, the grass has become somewhat wild and the leaves of forgotten autumns and distant trees still chuckle outside basement windows.

And why do cities where so much is concentrated make up a waste of underused and unappreciated places? These are corners, corners under stairs, with small windows, in large rooms, in shafts. Places behind unimportant doors, or with imperceptibly strange proportions, or on the outside of a building in an awkward part like an alley. We have these places even in our houses and we would have to live in spheres or maybe space ships to avoid them. But I do not think we can avoid them, which makes me wonder if perhaps we need them, at least to remind us of the sort of pauses like them that are scattered about our lives.

Nature, it seems to me, knows nothing of such places and is best at using them. And that makes me think these places exist to show us the finitude of those by whose design they exist.

Art

An essay or art.

He thinks his way to where he can start talking about what we should expect from art and then the essay soars.

The Ages of Our Languages

Aurora Borealis appears a technical designation, devoid of life and Latin, an attempt, like putting a pin through a bug, to designate a fact. And when I read it I have only got a fact. But when I read The Northern Dawn the world is shifted and a mystery brightens in the sky, a new wonder arises and it sends through me a thrill of joy. And now I can return and read aurora borealis with some wonder, with the concept, though preferring still The Northern Dawn.

I suppose it would not be the case were I to first learn Latin, and then come across the term.

Psalm 133

A Song of Ascents by David

Behold how good and pleasant
it is to have a place
where brothers all may make
their mutual home.

This cordial concord is
as the good oil from the head
running down upon the beard,
the beard of Aaron,
and continues down and splashes
on the collar of his robe.

This cordial concord is
as the dew from Hermon’s snow—
pristine snow—that falls
on all of Zion’s hills.
For in Zion has the Lord
appointed the blessing:
life for evermore.

William Wordsworth

William Wordsworth’s poetry can all be called up here.

I have an old, Oxford, two column and small-type Wordsworth. It is one of those books in which you can take much without taking a lot. It is too fat for most pockets, but not really all that big. It has enough it in for a long trip. How simple and how much in these eight lines, for example:

“GLAD SIGHT WHEREVER NEW WITH OLD”

GLAD sight wherever new with old
Is joined through some dear homeborn tie;
The life of all that we behold
Depends upon that mystery.
Vain is the glory of the sky,
The beauty vain of field and grove,
Unless, while with admiring eye
We gaze, we also learn to love.

Not difficult, but it repays a second and a third consideration. If you start reading Coleridge you start to realize that here is an idea he explored: the importance of the perceiving subject or how everything around us responds to us for all that it is outward. Romanticism has to do with restlessness born out of a desire for a home which we recognize in glimmers everywhere, glimmers which stir up our longing for it. Old Wordsworth is going to develop his longing into longing for something remembered, something lost and now sought. Romanticism desires and searches and refuses to settle with the contentment of more classical and complacent (Aristotelian, Apollonian, balanced, etc.) periods. But Worsdworth’s and Coleridge’s romanticism seems to have been more characterized by contentment than many subsequent versions. I think this has to do with acknowledging that the home will not be reached but must only be better desired all through this life. Other Romanticisms try to bring about that home, to flush it out and enjoy it in this life, as it were.

Life, Wordsworth says, depends upon a mystery, a mystery that arises when something familiar is joined with something unfamiliar producing the sort of understanding which may be called the understanding of the heart: the sort of insight we not only acknowledge, but ratify with the consent of love.

Conscious of this familiarity which he calls love, and the growing of understanding by remembering and associating, the romantic poet proceeds to examine what he experiences. If there is gazing in which a cordial sympathy is achieved, then you have something worthwhile—and there are no things which cannot with sufficient patience and examination yield up some sort of sympathetic insight. Sometimes when he was done thinking about something, and making a poem, Wordsworth would proceed to make another one as more thoughts were suggested to him—sometimes years later.

The good of this Romanticism is destroyed when the view turns exclusively inward and the mere experience of the artist is considered significant: as if the artist were some kind of heightened individual rather than an individual with an ability to heighten things through artifice. Happily, whatever Wordsworth’s errors, this was not one. Here, however, he comes close:

A NIGHT-PIECE

——THE sky is overcast
With a continuous cloud of texture close,
Heavy and wan, all whitened by the Moon,
Which through that veil is indistinctly seen,
A dull, contracted circle, yielding light
So feebly spread, that not a shadow falls,
Chequering the ground–from rock, plant, tree, or tower.
At length a pleasant instantaneous gleam
Startles the pensive traveller while he treads
His lonesome path, with unobserving eye
Bent earthwards; he looks up–the clouds are split
Asunder,–and above his head he sees
The clear Moon, and the glory of the heavens.
There, in a black-blue vault she sails along,
Followed by multitudes of stars, that, small
And sharp, and bright, along the dark abyss
Drive as she drives: how fast they wheel away,
Yet vanish not!–the wind is in the tree,
But they are silent;–still they roll along
Immeasurably distant; and the vault,
Built round by those white clouds, enormous clouds,
Still deepens its unfathomable depth.
At length the Vision closes; and the mind,
Not undisturbed by the delight it feels,
Which slowly settles into peaceful calm,
Is left to muse upon the solemn scene.

He takes you quite a way into the experience itself, and then points out that reflection is necessary, that the experience was significant. What does it mean? Again, but in a different and more compelling way he says: the world is fraught with mystery and everywhere glimmering with significance. At one point Coleridge writes in his notebook to remind himself to make a comparison between sensations on experienced with a wood fire and then a coal fire. The difference, he seemed to think, would prove instructive. And you will know how much of a romantic you are if you find the thing intriguing, and you believe that to examine the difference would lead to some significant understanding.

September Comes

Now is the season of our sweaters. Now the long sleeve, now the more pleasant reward of the hot chocolate, now the warm tea-pot and the long, hot bath. Blue skies, cool winds, long-lasting dew on the long grass. All.

September our ninth month. The Romans seem to have gotten a hold of our months around June. They did well with July and August: good names like January and February. But then they started numbering them all wrong: September for the ninth, October for the tenth and so on through December: two months behind. I like the names of all of them still, though I feel December you could change to Yule. These are some of the best months.

With Worsdworth I went on a protracted walk. The sun came from the opposite direction and the morning was alive with all the cool of fall. I turned the pages with the pleasure of cold fingers and later I typed with the pleasure of cold fingers. Oh the pleasures of the cold.

What I noticed was the sunlight that falls all the way to the forest floor. I saw the pylons marching through the park and thought of wildernesses through which the lofty and straight power lines are carried on: ignored but not remote. The sunlight falling on the forest floor is rich and makes the gloom around it rich as the sound of early morning in the leaves. The sun falls through in pools through which the water runs clear brown with golden ripples. In the occult regions of a shady, semi-stagnant, clouded creek moves the undreaming carp, a figure vague. But when the carp reaches the clear, flowing waters and brown sunlight then one feels ones gazes on the thing designed.

When the sun warms the pavement of the paths, greater and lesser grasshoppers like to satisfy their sentience in the morning sun. So many are there in some spots that as I walk through they’re disturbed and leap away like so much bouncing debris. It provokes the reflections that it would be very satisfying to interrupt the arc of their leaping by catching with a kick the startled bug and giving it an unanticipated, greater arc to travel.

* * *
You may remember I mentioned some doomed ashes some time back. All of them have been cut down and had their stumps painted red. There is some sawdust in the grass around them, a few indentations of the ground, but very little other than the low stumps with the fresh, exposed wood sprayed red. Most are two feet in diameter, one three and the greatest one is four. It fills me with sense of loss when I realize how thick the trunk was, how long it must have taken to achieve. It is a bit uncanny how the light in which I saw them was a true, prophetic light.

These cutters-down-of-trees. Another party had set up further along my early way, was trimming cottonwoods and grinding them up to bits. An outfit from Des Moines. And not the only outfit out clamoring with their labors to disturb the silence of the woods with engines and with hammers.

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