PUIs- 20th century poets under the influence

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The Thin Edge of Your Pride
II

Kennth Rexroth

Six months as timeless as dream,
As impotent . . .
You pause on the subway stairs,
Wave and smile and descend.
Was it an instant between waking
And waking,
That you smile and wave again,
Two blocks away on a smoky
Chicago boulevard?
How many dynasties decayed
Meanwhile, how many
Times did the second hand
Circumvent its dial?

 

III

Indigenes of furnished rooms,
Our best hours have been passed
At the taxpayers’ expense
In the public parks of four cities.
It could be worse, the level
Well-nurtured lawns, the uplifted
Rhythmic arms of children,
A bright red ball following
A graph of laughter,
The dresses of the little girls
Blossoming like hyacinths
In early August, the fountains,
The tame squirrels, pigeons
And sparrows, and other
Infinitely memorable things.

Confusion
Kenneth Rexroth

I pass your home in a slow vermilion dawn,
The blinds are drawn, and the windows are open.
The soft breeze from the lake
Is like your breath upon my cheek.
All day long I walk in the intermittent rainfall.
I pick a vermilion tulip in the deserted park,
Bright raindrops cling to its petals.
At five o’clock it is a lonely color in the city.
I pass your home in a rainy evening,
I can see you faintly, moving between lighted walls.
Late at night I sit before a white sheet of paper,
Until a fallen vermilion petal quivers before me.

.

On What Planet
Kenneth Rexroth

Uniformly over the whole countryside
The warm air flows imperceptibly seaward;
The autumn haze drifts in deep bands
Over the pale water;
White egrets stand in the blue marshes;
Tamalpais, Diablo, St. Helena
Float in the air.
Climbing on the cliffs of Hunter’s Hill
We look out over fifty miles of sinuous
Interpenetration of mountains and sea.

Leading up a twisted chimney,
Just as my eyes rise to the level
Of a small cave, two white owls
Fly out, silent, close to my face.
They hover, confused in the sunlight,
And disappear into the recesses of the cliff.

All day I have been watching a new climber,
A young girl with ash blonde hair
And gentle confident eyes.
She climbs slowly, precisely,
With unwasted grace.

While I am coiling the ropes,
Watching the spectacular sunset,
She turns to me and says, quietly,
“It must be very beautiful, the sunset,
On Saturn, with the rings and all the moons.”

 

Eleven Dawns with Su Tung-p’o
Jim Harrison

9.

?Late in life I’ve lost my country.
Everywhere there is the malice of unearned
power, top to bottom, bottom to top,
nearly solid scum. Very few can read or write.
Lucky for me we winter in this bamboo thicket
near a creek with three barrels of bird food.
With first light things seem a little better.

10.

Don’t probe your brain’s sore tooth in the dark.
Let your mind drift to the mountains
where migrants are doubtless freezing
on the coldest night of the year. The dogs
found a nest beneath the roots of a big sycamore
tipped over in July’s flood. The ashes of a tiny fire,
an empty water bottle, a pop-top can of beans
scorched by the coals. These dangerous people
whom we’re being taught to hate like the Arabs.

Braided Creek (excerpts)
Jim Harrison

Only today
I heard
the river
within the river.
~
An empty boat
will volunteer for anything.
~
I have used up more than
20,000 days waiting to see
what the next would bring.
~
Today a pink rose in a vase
on the table.
Tomorrow petals.

A Letter from Li Po
Conrad Aiken

Fanfare of northwest wind, a bluejay wind
announces autumn, and the equinox
rolls back blue bays to a far afternoon.
Somewhere beyond the Gorge Li Po is gone,
looking for friendship or an old love’s sleeve
or writing letters to his children, lost,
and to his children’s children, and to us.
What was his light? of lamp or moon or sun?
Say that it changed, for better or for worse,
sifted by leaves, sifted by snow; on mulberry silk
a slant of witch-light; on the pure text
a slant of genius; emptying mind and heart
for winecups and more winecups and more words.
What was his time? Say that it was a change,
but constant as a changing thing may be,
from chicory’s moon-dark blue down the taut scale
to chicory’s tenderest pink, in a pink field
such as imagination dreams of thought.
But of the heart beneath the winecup moon
the tears that fell beneath the winecup moon
for children lost, lost lovers, and lost friends,
what can we say but that it never ends?
Even for us it never ends, only begins.
Yet to spell down the poem on her page,
margining her phrases, parsing forth
the sevenfold prism of meaning, up the scale
from chicory pink to blue, is to assume
Li Po himself: as he before assumed
the poets and the sages who were his.
Like him, we too have eaten of the word:
with him are somewhere lost beyond the Gorge:
and write, in rain, a letter to lost children,
a letter long as time and brief as love.

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The Shih Ching , usually translated as either The Book of Songs or the Classic of Poetry, is the first great collection of Chinese poetry. Tradition says that it was edited into its present form by the Sage of Sages, Confucius himself. In fact the book was assembled before, during, and after the life of Confucius. Its more than three hundred poems include fragments of works as old as the Shang Dynasty (traditional; dates 1766-1154 BCE) as well as “contemporary” poems from the Chou feudal states written or spoken by both aristocratic court figures and just plain “folks”. A great deal has been said about the origin of many, if not the majority of the poems as oral “folk” art, but it is clear from the artistry of the written language in which they have been handed down that, like the scribes who improved upon the originally oral poetry attributed to “Homer” in the West to create the Iliad and the Odyssey, the people who converted Chou folk songs and court verses into poetry in written Chinese characters clearly thought of themselves as (and were) artists. So the characters used to render simple and direct lyrical utterances of the illiterate peasant folk often honor them with carefully chosen written vocabulary: the heart and soul of folk art remains clearly present, but literary subtleties are introduced. The scribes who created the Shih Ching were poets, not tape recorders. They chose the best of what existed, and they honored it with their own art.

In its present form, the Shih Ching consists of three major sections, the Kuo Feng, or Odes of the States, comprising 160 of the 300 are generally but not always folk songs. The Ya (Elegant Verses) subdivided with no obvious criteria into greater and lesser, include poems 161-265, and the Sung or Temple Odes high ritual songs and bits of dynastic myth, include poems 266-305. The present selection is comes, all but a single longer poem on drinking and its positive and negative consequences from the “Lesser Elegants”, all come from the Kuo Feng Sections.

Knowledge of the Shih Ching poems was a necessity of diplomatic practice around the time of Confucius, when it was a common practice to deliver or at least support the delivery of diplomatic messages among the feudal domains (the “States or Guo of the Guo Feng) by oral presentation of relevant lines from the Classic. From the Han on many of the poems where imbued with very specific allegorical interpretations, but it is clear that later poets, who memorized the book word for word, used it as allusive material in their own poems at least as often for its plain “folk” messages as for its orthodoxly approved allegorical ones.