{"id":42,"date":"2019-08-12T20:11:46","date_gmt":"2019-08-12T18:11:46","guid":{"rendered":"https:\/\/www.publiconsulting.com\/wordpress\/introtopoetry\/chapter\/chapter-6\/"},"modified":"2019-10-18T20:31:24","modified_gmt":"2019-10-18T18:31:24","slug":"chapter-6","status":"publish","type":"chapter","link":"https:\/\/www.publiconsulting.com\/wordpress\/introtopoetry\/chapter\/chapter-6\/","title":{"rendered":"Poetry as Meditation on Poetry"},"content":{"raw":"<div class=\"__UNKNOWN__\">\n\n<img class=\"alignnone wp-image-37 aligncenter\" src=\"http:\/\/www.publiconsulting.com\/wordpress\/poetry\/wp-content\/uploads\/sites\/109\/2019\/09\/image1.jpeg\" alt=\"\" width=\"169\" height=\"300\">\n<blockquote><span style=\"color: #0000ff\">They shut me up in Prose \u2013<\/span>\n<span style=\"color: #0000ff\">As when a little Girl<\/span>\n<span style=\"color: #0000ff\">They put me in the Closet \u2013<\/span>\n<span style=\"color: #0000ff\">Because they liked me \u201cStill\u201d \u2013<\/span>\n<p style=\"padding-left: 80px\"><span style=\"color: #0000ff\">\u2014Emily Dickinson<\/span><\/p>\n&nbsp;\n\n<strong style=\"font-size: 1em\">Chapter 5<\/strong><span style=\"font-size: 1em\"> left out one important aspect of the conversation poetry is always having. This part of the conversation is so pervasive and fundamental that it may be part of all poems: <\/span><em style=\"font-size: 1em\">poetry itself is always attempting to figure out what it is and what it is doing. <\/em><span style=\"font-size: 1em\">One of the oldest ongoing conversations in the world of poetry is the one about poetry. We\u2019ve heard it said that philosophy is understood by many as an endless debate about what philosophy is. Poetry is no less subject to this way of thinking: <\/span><strong style=\"font-size: 1em\">Poetry is always trying to figure out what it is and what it\u2019s doing<\/strong><span style=\"font-size: 1em\">. And poets address the question of the nature of poetry in many ways.<\/span><\/blockquote>\n<ul>\n \t<li>For example, in Wallace Stevens\u2019 \u201cThe Snow Man,\u201d the <strong>question of how to \u201cinterpret\u201d winter is closely related to the question of how to interpret poetry<\/strong>. The same is said of the poems of Edna St. Vincent Millay and Walt Whitman.<\/li>\n \t<li>In a famous poem we haven\u2019t read yet, Keats\u2019 \u201cOde to a Nightingale,\u201d the Romantic <strong>poet meditates on the power of poetry to take us out of the world of suffering and death and into the eternal world<\/strong> from which the nightingale\u2019s song emerges. The speaker concludes, rather pessimistically: \u201cThe fancy [imagination] cannot cheat as she is famed to do.\u201d Poetry cannot get us there, says Keats, cannot even deceive us into thinking we have gone there. Or so he tells us (though the poem may leave us wondering where we are).\u00a0 No matter what else poetry is about, it\u2019s about art. <em>And art is almost always, at least in part, about itself as form and its process of becoming.<\/em><\/li>\n \t<li>So what does poetry say about itself?\u00a0 Poems say many things about what it is or does. And poets do not all agree on what poetry is\u00a0 or what it does. Most significantly <strong>it never stops asking<\/strong>, whether implicitly and explicitly<strong>. Here\u2019s a fragment of another poem that comes right out and tells you what it\u2019s about:<\/strong><\/li>\n<\/ul>\n&nbsp;\n<div>Now, again, poetry,<\/div>\n<div>violent, arcane, common,<\/div>\n<div>hewn of the commonest living substance<\/div>\n<div>into archway, portal, frame<\/div>\n<div>I grasp for you, your bloodstained splinters, your<\/div>\n<div>ancient and stubborn poise<\/div>\n<div>\u2014as the earth trembles\u2014<\/div>\n<div>burning out from the grain<\/div>\n<strong> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/strong>\u2014Adrienne Rich, \u201cThe Fact of a Doorframe\u201d\n\n<strong>\u00a0<\/strong>\n<ul>\n \t<li><strong>How do you know when poetry is about itself?<\/strong>\n<ul>\n \t<li>Aside from the obvious cases in which poetry openly tells you it is about itself (as in Alexander Pope\u2019s \u201cEssay on Criticism\u201d and Archibald MacLeish\u2019s or Elizabeth Alexander\u2019s \u201cArs Poetica\u201d), you can be pretty sure that <strong>poetry about music is also poetry about poetry. The word \u201csong,\u201d in fact, has a secondary meaning of \u201cpoem,\u201d particularly in poetry<\/strong>. Poets writing about singing are writing about what they are doing.<\/li>\n \t<li><strong>Poets praising other subjects are often also writing about poetry<\/strong>. Poems in praise of women, for example, may also be in praise of poetry because women and poetry are considered (especially by poets of the past), throughout essentially the entire history of Western literature, to represent the highest reaches of human beauty. For example, Ezra Pound\u2019s \u201cPortrait d\u2019une Femme\u201d (\u201cPortrait of a Lady\u201d) is primarily a portrait of poetry. The same is true of poetry about landscape, Hopkins\u2019 \u201cPied Beauty\u201d for example. This poem is explicitly about the creativity of God and the beauty of nature. But the creative principle is the same whether God makes a fish or a poet makes a poem. <em>So whatever the poet intended as the subject<strong>, if a poet is writing about the beauty of any created thing, we may legitimately consider the poem as a comment on poetry.<\/strong><\/em><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<strong>In actual poems, poets meditating on or writing about poetry is a rather complex issue<\/strong>. So what a poem about poetry is saying about poetry may not always be as simple as what you might understand from an essay or a lecture like this. For example, Thomas Wyatt in \u201cMy Lute, Awake,\u201d tell us that his music (i.e. poetry) is as useless in moving his beloved\u2019s heart as speaking when there is no one to listen, or like trying to write on hard marble with soft lead.\n\nAs to be heard where ear is none,\nAs lead to grave in marble stone,\nMy song may pierce her heart as soon;\nShould we then sigh or sing or moan?\nNo, no, my lute, for I have done.\n\nSo he\u2019s going to give up music (poetry) altogether. But if he really means that, why would he write the poem to begin with? Isn\u2019t the poet again attempting to win the beloved by saying he\u2019ll stop trying? Or is he perhaps seeking embarrass his beloved or even get a little symbolic revenge?\n\nTo understand the great number of things poets say about poetry in their poems, the best thing to do is read poems about poetry and talk about them. Here is a good place to start.\n\n<strong>Some Poems:<\/strong>\n\nSpenser, <a class=\"external\" href=\"http:\/\/www.poetryfoundation.org\/poem\/174456\" target=\"_blank\" rel=\"noreferrer noopener\">\u201cSonnet 75\u201d<span class=\"screenreader-only\">\u00a0(Links to an external site.)<\/span><\/a>\u00a0(\u201cOne Day I Wrote Her Name upon the Strand\u201d)\n\nHerrick,<span class=\"instructure_file_holder link_holder\"><a class=\"instructure_file_link\" title=\"Herrick, To the Sour Reader.docx\" href=\"https:\/\/ccsnh.instructure.com\/courses\/39736\/files\/1910403\/download?wrap=1\" data-api-endpoint=\"https:\/\/ccsnh.instructure.com\/api\/v1\/courses\/39736\/files\/1910403\" data-api-returntype=\"File\">\u00a0\u201cTo the Sour Reader\u201d<\/a><a class=\"file_preview_link\" title=\"Preview the document\" href=\"https:\/\/ccsnh.instructure.com\/courses\/39736\/files\/1910403\/download?wrap=1\" aria-hidden=\"true\"><img src=\"https:\/\/ccsnh.instructure.com\/images\/preview.png\" alt=\"Preview the document\"><\/a><\/span>\n\nBradstreet, <a class=\"external\" href=\"http:\/\/www.poetryfoundation.org\/poem\/172953\" target=\"_blank\" rel=\"noreferrer noopener\">\u201cThe Author to Her Book\u201d<span class=\"screenreader-only\">\u00a0(Links to an external site.)<\/span><\/a>\n\nKeats, <a class=\"external\" href=\"http:\/\/www.poetryfoundation.org\/poem\/173746\" target=\"_blank\" rel=\"noreferrer noopener\">\u201cOn First Looking into Chapman\u2019s Homer\u201d<span class=\"screenreader-only\">\u00a0(Links to an external site.)<\/span><\/a>\n\nWhitman, <a class=\"external\" href=\"http:\/\/whitmanarchive.org\/published\/LG\/1891\/poems\/107\" target=\"_blank\" rel=\"noreferrer noopener\">\u201cOut of the Cradle Endlessly Rocking\u201d<span class=\"screenreader-only\">\u00a0(Links to an external site.)<\/span><\/a>\n\nDickinson, \u201c<a class=\"external\" href=\"https:\/\/poetryfoundation.org\/poems\/56824\/tell-all-the-truth-but-tell-it-slant-1263\" target=\"_blank\" rel=\"noreferrer noopener\">1252<span class=\"screenreader-only\">\u00a0(Links to an external site.)<\/span><\/a>\u00a0[Tell all the truth, but tell it slant]\u201d\n\nHousman,<span class=\"instructure_file_holder link_holder\"><a class=\"instructure_file_link\" title=\"Houseman, Terence.docx\" href=\"https:\/\/ccsnh.instructure.com\/courses\/39736\/files\/1910406\/download?wrap=1\" data-api-endpoint=\"https:\/\/ccsnh.instructure.com\/api\/v1\/courses\/39736\/files\/1910406\" data-api-returntype=\"File\">\u00a0\u201c\u2019Terrance, This Is Stupid Stuff\u2019\u201d\u00a0<\/a><a class=\"file_preview_link\" title=\"Preview the document\" href=\"https:\/\/ccsnh.instructure.com\/courses\/39736\/files\/1910406\/download?wrap=1\" aria-hidden=\"true\"><img src=\"https:\/\/ccsnh.instructure.com\/images\/preview.png\" alt=\"Preview the document\"><\/a><\/span>\n\nMoore, <span class=\"instructure_file_holder link_holder\"><a class=\"instructure_file_link\" title=\"Moore Poetry.docx\" href=\"https:\/\/ccsnh.instructure.com\/courses\/39736\/files\/1910401\/download?wrap=1\" data-api-endpoint=\"https:\/\/ccsnh.instructure.com\/api\/v1\/courses\/39736\/files\/1910401\" data-api-returntype=\"File\">\u201cPoetry\u201d<\/a><a class=\"file_preview_link\" title=\"Preview the document\" href=\"https:\/\/ccsnh.instructure.com\/courses\/39736\/files\/1910401\/download?wrap=1\" aria-hidden=\"true\"><img src=\"https:\/\/ccsnh.instructure.com\/images\/preview.png\" alt=\"Preview the document\"><\/a><\/span>\n\nMacLeish<a class=\"external\" href=\"http:\/\/www.poetryfoundation.org\/poetrymagazine\/poem\/6371\" target=\"_blank\" rel=\"noreferrer noopener\">, \u201cArs Poetica\u201d<span class=\"screenreader-only\">\u00a0(Links to an external site.)<\/span><\/a>\n\nKinnell, <a class=\"external\" href=\"http:\/\/www.poetryfoundation.org\/poetrymagazine\/poem\/19549\" target=\"_blank\" rel=\"noreferrer noopener\">\u201cThe Correspondence School Instructor Says Goodbye to His Poetry Students\u201d<\/a>\n\n<strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>\n\n<\/div>\n&nbsp;","rendered":"<div class=\"__UNKNOWN__\">\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-37 aligncenter\" src=\"\/\/www.publiconsulting.com\/wordpress\/poetry\/wp-content\/uploads\/sites\/109\/2019\/09\/image1.jpeg\" alt=\"\" width=\"169\" height=\"300\" \/><\/p>\n<blockquote><p><span style=\"color: #0000ff\">They shut me up in Prose \u2013<\/span><br \/>\n<span style=\"color: #0000ff\">As when a little Girl<\/span><br \/>\n<span style=\"color: #0000ff\">They put me in the Closet \u2013<\/span><br \/>\n<span style=\"color: #0000ff\">Because they liked me \u201cStill\u201d \u2013<\/span><\/p>\n<p style=\"padding-left: 80px\"><span style=\"color: #0000ff\">\u2014Emily Dickinson<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><strong style=\"font-size: 1em\">Chapter 5<\/strong><span style=\"font-size: 1em\"> left out one important aspect of the conversation poetry is always having. This part of the conversation is so pervasive and fundamental that it may be part of all poems: <\/span><em style=\"font-size: 1em\">poetry itself is always attempting to figure out what it is and what it is doing. <\/em><span style=\"font-size: 1em\">One of the oldest ongoing conversations in the world of poetry is the one about poetry. We\u2019ve heard it said that philosophy is understood by many as an endless debate about what philosophy is. Poetry is no less subject to this way of thinking: <\/span><strong style=\"font-size: 1em\">Poetry is always trying to figure out what it is and what it\u2019s doing<\/strong><span style=\"font-size: 1em\">. And poets address the question of the nature of poetry in many ways.<\/span><\/p><\/blockquote>\n<ul>\n<li>For example, in Wallace Stevens\u2019 \u201cThe Snow Man,\u201d the <strong>question of how to \u201cinterpret\u201d winter is closely related to the question of how to interpret poetry<\/strong>. The same is said of the poems of Edna St. Vincent Millay and Walt Whitman.<\/li>\n<li>In a famous poem we haven\u2019t read yet, Keats\u2019 \u201cOde to a Nightingale,\u201d the Romantic <strong>poet meditates on the power of poetry to take us out of the world of suffering and death and into the eternal world<\/strong> from which the nightingale\u2019s song emerges. The speaker concludes, rather pessimistically: \u201cThe fancy [imagination] cannot cheat as she is famed to do.\u201d Poetry cannot get us there, says Keats, cannot even deceive us into thinking we have gone there. Or so he tells us (though the poem may leave us wondering where we are).\u00a0 No matter what else poetry is about, it\u2019s about art. <em>And art is almost always, at least in part, about itself as form and its process of becoming.<\/em><\/li>\n<li>So what does poetry say about itself?\u00a0 Poems say many things about what it is or does. And poets do not all agree on what poetry is\u00a0 or what it does. Most significantly <strong>it never stops asking<\/strong>, whether implicitly and explicitly<strong>. Here\u2019s a fragment of another poem that comes right out and tells you what it\u2019s about:<\/strong><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<div>Now, again, poetry,<\/div>\n<div>violent, arcane, common,<\/div>\n<div>hewn of the commonest living substance<\/div>\n<div>into archway, portal, frame<\/div>\n<div>I grasp for you, your bloodstained splinters, your<\/div>\n<div>ancient and stubborn poise<\/div>\n<div>\u2014as the earth trembles\u2014<\/div>\n<div>burning out from the grain<\/div>\n<p><strong> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/strong>\u2014Adrienne Rich, \u201cThe Fact of a Doorframe\u201d<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<ul>\n<li><strong>How do you know when poetry is about itself?<\/strong>\n<ul>\n<li>Aside from the obvious cases in which poetry openly tells you it is about itself (as in Alexander Pope\u2019s \u201cEssay on Criticism\u201d and Archibald MacLeish\u2019s or Elizabeth Alexander\u2019s \u201cArs Poetica\u201d), you can be pretty sure that <strong>poetry about music is also poetry about poetry. The word \u201csong,\u201d in fact, has a secondary meaning of \u201cpoem,\u201d particularly in poetry<\/strong>. Poets writing about singing are writing about what they are doing.<\/li>\n<li><strong>Poets praising other subjects are often also writing about poetry<\/strong>. Poems in praise of women, for example, may also be in praise of poetry because women and poetry are considered (especially by poets of the past), throughout essentially the entire history of Western literature, to represent the highest reaches of human beauty. For example, Ezra Pound\u2019s \u201cPortrait d\u2019une Femme\u201d (\u201cPortrait of a Lady\u201d) is primarily a portrait of poetry. The same is true of poetry about landscape, Hopkins\u2019 \u201cPied Beauty\u201d for example. This poem is explicitly about the creativity of God and the beauty of nature. But the creative principle is the same whether God makes a fish or a poet makes a poem. <em>So whatever the poet intended as the subject<strong>, if a poet is writing about the beauty of any created thing, we may legitimately consider the poem as a comment on poetry.<\/strong><\/em><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p><strong>In actual poems, poets meditating on or writing about poetry is a rather complex issue<\/strong>. So what a poem about poetry is saying about poetry may not always be as simple as what you might understand from an essay or a lecture like this. For example, Thomas Wyatt in \u201cMy Lute, Awake,\u201d tell us that his music (i.e. poetry) is as useless in moving his beloved\u2019s heart as speaking when there is no one to listen, or like trying to write on hard marble with soft lead.<\/p>\n<p>As to be heard where ear is none,<br \/>\nAs lead to grave in marble stone,<br \/>\nMy song may pierce her heart as soon;<br \/>\nShould we then sigh or sing or moan?<br \/>\nNo, no, my lute, for I have done.<\/p>\n<p>So he\u2019s going to give up music (poetry) altogether. But if he really means that, why would he write the poem to begin with? Isn\u2019t the poet again attempting to win the beloved by saying he\u2019ll stop trying? Or is he perhaps seeking embarrass his beloved or even get a little symbolic revenge?<\/p>\n<p>To understand the great number of things poets say about poetry in their poems, the best thing to do is read poems about poetry and talk about them. Here is a good place to start.<\/p>\n<p><strong>Some Poems:<\/strong><\/p>\n<p>Spenser, <a class=\"external\" href=\"http:\/\/www.poetryfoundation.org\/poem\/174456\" target=\"_blank\" rel=\"noreferrer noopener\">\u201cSonnet 75\u201d<span class=\"screenreader-only\">\u00a0(Links to an external site.)<\/span><\/a>\u00a0(\u201cOne Day I Wrote Her Name upon the Strand\u201d)<\/p>\n<p>Herrick,<span class=\"instructure_file_holder link_holder\"><a class=\"instructure_file_link\" title=\"Herrick, To the Sour Reader.docx\" href=\"https:\/\/ccsnh.instructure.com\/courses\/39736\/files\/1910403\/download?wrap=1\" data-api-endpoint=\"https:\/\/ccsnh.instructure.com\/api\/v1\/courses\/39736\/files\/1910403\" data-api-returntype=\"file\">\u00a0\u201cTo the Sour Reader\u201d<\/a><a class=\"file_preview_link\" title=\"Preview the document\" href=\"https:\/\/ccsnh.instructure.com\/courses\/39736\/files\/1910403\/download?wrap=1\" aria-hidden=\"true\"><img decoding=\"async\" src=\"https:\/\/ccsnh.instructure.com\/images\/preview.png\" alt=\"Preview the document\" \/><\/a><\/span><\/p>\n<p>Bradstreet, <a class=\"external\" href=\"http:\/\/www.poetryfoundation.org\/poem\/172953\" target=\"_blank\" rel=\"noreferrer noopener\">\u201cThe Author to Her Book\u201d<span class=\"screenreader-only\">\u00a0(Links to an external site.)<\/span><\/a><\/p>\n<p>Keats, <a class=\"external\" href=\"http:\/\/www.poetryfoundation.org\/poem\/173746\" target=\"_blank\" rel=\"noreferrer noopener\">\u201cOn First Looking into Chapman\u2019s Homer\u201d<span class=\"screenreader-only\">\u00a0(Links to an external site.)<\/span><\/a><\/p>\n<p>Whitman, <a class=\"external\" href=\"http:\/\/whitmanarchive.org\/published\/LG\/1891\/poems\/107\" target=\"_blank\" rel=\"noreferrer noopener\">\u201cOut of the Cradle Endlessly Rocking\u201d<span class=\"screenreader-only\">\u00a0(Links to an external site.)<\/span><\/a><\/p>\n<p>Dickinson, \u201c<a class=\"external\" href=\"https:\/\/poetryfoundation.org\/poems\/56824\/tell-all-the-truth-but-tell-it-slant-1263\" target=\"_blank\" rel=\"noreferrer noopener\">1252<span class=\"screenreader-only\">\u00a0(Links to an external site.)<\/span><\/a>\u00a0[Tell all the truth, but tell it slant]\u201d<\/p>\n<p>Housman,<span class=\"instructure_file_holder link_holder\"><a class=\"instructure_file_link\" title=\"Houseman, Terence.docx\" href=\"https:\/\/ccsnh.instructure.com\/courses\/39736\/files\/1910406\/download?wrap=1\" data-api-endpoint=\"https:\/\/ccsnh.instructure.com\/api\/v1\/courses\/39736\/files\/1910406\" data-api-returntype=\"file\">\u00a0\u201c\u2019Terrance, This Is Stupid Stuff\u2019\u201d\u00a0<\/a><a class=\"file_preview_link\" title=\"Preview the document\" href=\"https:\/\/ccsnh.instructure.com\/courses\/39736\/files\/1910406\/download?wrap=1\" aria-hidden=\"true\"><img decoding=\"async\" src=\"https:\/\/ccsnh.instructure.com\/images\/preview.png\" alt=\"Preview the document\" \/><\/a><\/span><\/p>\n<p>Moore, <span class=\"instructure_file_holder link_holder\"><a class=\"instructure_file_link\" title=\"Moore Poetry.docx\" href=\"https:\/\/ccsnh.instructure.com\/courses\/39736\/files\/1910401\/download?wrap=1\" data-api-endpoint=\"https:\/\/ccsnh.instructure.com\/api\/v1\/courses\/39736\/files\/1910401\" data-api-returntype=\"file\">\u201cPoetry\u201d<\/a><a class=\"file_preview_link\" title=\"Preview the document\" href=\"https:\/\/ccsnh.instructure.com\/courses\/39736\/files\/1910401\/download?wrap=1\" aria-hidden=\"true\"><img decoding=\"async\" src=\"https:\/\/ccsnh.instructure.com\/images\/preview.png\" alt=\"Preview the document\" \/><\/a><\/span><\/p>\n<p>MacLeish<a class=\"external\" href=\"http:\/\/www.poetryfoundation.org\/poetrymagazine\/poem\/6371\" target=\"_blank\" rel=\"noreferrer noopener\">, \u201cArs Poetica\u201d<span class=\"screenreader-only\">\u00a0(Links to an external site.)<\/span><\/a><\/p>\n<p>Kinnell, <a class=\"external\" href=\"http:\/\/www.poetryfoundation.org\/poetrymagazine\/poem\/19549\" target=\"_blank\" rel=\"noreferrer noopener\">\u201cThe Correspondence School Instructor Says Goodbye to His Poetry Students\u201d<\/a><\/p>\n<p><strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong><\/p>\n<\/div>\n<p>&nbsp;<\/p>\n","protected":false},"author":1,"menu_order":6,"template":"","meta":{"pb_show_title":"on","pb_short_title":"Poetry about 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