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The Iowa Review
Volume 1
Issue 3 Summer
1970
Louise Bogan
Paul Ramsey
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Ramsey, Paul. "Louise Bogan." The Iowa Review 1.3 (1970): 116-124. Web.
Available at: http://ir.uiowa.edu/iowareview/vol1/iss3/36
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Article 36
Louise
Paul
Bogan
Ramsey
is a great lyric poet.
Louise Bogan
Greatness in poetry is hard to discuss,
especially in the lyric. It is comparatively
easy to show that Bogan is a very good poet: powerful in feeling, surprising and
chaste in diction, strong in structure, masterly in
imagery and rhythm, important
in themes; but greatness in the lyric is
as
and
impact
profundity and so simple
almost to defy scrutiny. The thing
own
note
is
in
the
struck;
happens;
Bogan's
the
language
where
her
. . . Music
/
"terrible
arrive
poems
time
and
in the
hill"
granite
and
sounds,
we
there
are,
again.
Lyrics are to be judged by depth and perfecting, not range, yet the reach of her
work is more than its slightness in quantity
might suggest. She writes mostly on
the traditional lyric subjects, themselves
no small range, of love, time,
comprising
passion,
grief,
nature,
death,
music,
stoicism,
art
limitation,
(not
overmuch),
dreams.
She also has done some very fine light verse with
its own
memory,
and
to
to
have
of
special quartz wryness,
manages
say
something
psychiatrists,
malevolent
cocktail parties, Jonathan Swift, St.
Christopher.
It is the saint who is most the
stranger. He is tough and able (arrived from a
is almost wholly
fresco), an infrequent sort of visitor to her poems. Religion
lacking in her work, except in hints, including the brilliant but puzzling hints
of the near light verse of "I Saw Eternity," and the
spirits who do appear ("Spir
are dark ones.
it's Song," "The Daemon")
Perhaps the lack is an ingredient in
the grief which persistently and
underdwells
her poems.
profoundly
Her
is
talent
unique
so well.
Her
poems
ending
endings
no
I know
poems.
startle
and
compose,
and in at least these others:
"Betrothed,"
ened
"The
Man,"
"Winter
"Kept,"
Swan."
"Late,"
other
in most
poet
of
who
the
ends
poems
"Come Break with Time,"
"To
Romantic,"
Be
Sung
on
so many
I discuss,
"The Fright
and
the Water,"
Her rhythms are brilliant, unique, and work in a
variety of kinds: the short-line
free verse of "The Dragonfly";
the free verse, varied in line length, often near or
in rising rhythm, of "Summer Wish";
the mostly rising rhythm with five strong
stresses
of
"Didactic
Piece,"
one
of
her
best
poems;
the
long-line
free
verse,
quite different in the two poems, of "Baroque Comment" and "After the Persian";
the special falling rhythms of "Train Tune"; and her "Poem in Prose,"
mostly,
despite its title, in rising rhythm with some counterposing with falling rhythms.
These
poems,
all
done
well,
ment, but it is no accident
Theodore Roethke's words
show
a
very
unusual
range
of metrical
accomplish
that her most powerful poems are work in which,
in
about these poems, the "ground beat of the great
116
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tradition can be heard." The great
teenth
century
chosen:
well
near
accentual-syllabics,
some
of her best
to be
accents)
The
as
heard
poems
is
tradition
in
heard
other
are
words
some
and
are
near,
strong
norm.
the
than
ways
since the late six
Roethke's
the pressure of grouped,
(especially
from
changes
and
iambics,
primarily
are
accentual-syllabic,
for her pulsing variations
enough
verse
in English
tradition
is
in
metrical,
diction,
and
image,
thought, yet always heard afresh. She does not violate the dignity of the com
attitudes or freakish privacies, yet has something
monplace
by self-indulgent
to say.
distinct
can
She
even
write
about
greatly
"Men Loved Wholly
a rare
emotion,
as
achievement,
in
the
superb
Beyond Wisdom":
Men
beyond wisdom
loved wholly
Have
staff without
the
the
banner.
Like a fire in a dry thicket
within
Rising
Is the
women's
love men
so subtle
Heart,
a marvel
What
To
and
now,
trembling,
to be wise,
never
love
eyes
return.
must
in this manner!
To be quiet in the fern
Like a thing gone dead and still,
Listening to the prisoned cricket
Shake its terrible, dissembling
Music in the granite hill.
The poem
ful.
known
The
visions
of the poem. Thus
the
images
staff
of
yet
feeling:
and frustration
Shakespeare's
precision
us what
tell
is felt;
the
is
banner
just
fern,
thickets,
dry
the
by
and
images
is felt
what
with
known
is the
the
subject
of a very important kind. Of the
and
potent,
images have an immediately
fire,
terrible and fear
sonnets
is reached
is new knowledge
the poem
without
in
only
tensions
and
reflection. The other
reaches
truths,
than here. The
fiercer precision
rhythms.
is destructive
says that passion
are
These
prison,
a moment's
requiring
seen propriety
yet lead to far
granite.
The poem is, in logical shape, a dilemma. A disjunction is offered, this or that,
each alternative leading to the tragic. The poem does not say or imply whether
other
alternatives
closure,
a truth
completeness?there
of great moral
importance.
the
Metrically
of hers
poems
ing distance
are
variations
heard
117
is
poem
as
means?and
surely
as
magnificent,
are near
which
more
Criticism
than
To
would
move
are
occur
further
says
in any
several
norms.
in
its
of
her
in more
those
involved
poem
and turns to iambics
from
It
poems.
principles
This
traditional
expectancies,
sense
profound
of human
resolution
detail. The
traditional
of the accentual-syllabic
variations.
exists
tragedy
in some metrical
I shall discuss
poem
other
but
exist,
of
stays
of
sexuality,
is
one
the
to
apply
within
hear
in the last verse. The
meters
but
as much
still
modern
are
norm.
the
verse
free
near-iambic
The
pattern
vv. 2, 3,
traditionally:
iamb
trochee,
but
of
strength
more
much
a
than
an
trochaic
in unusual
are
ways,
two
the
sixth
to
norm
the
appears
"The
of
lines,
the
between
with
trochees,
The
poem
iambic
truncated
the
again
and
form,
the
the
is
other
commas;
after
rhythm
rocking
that
the
some
narrative
"a
the
of
passion
strict
iambic
tetrameter
rhythmical
being
changes
are
the
the
and
subject
The
passion.
Castitatem"
structured
verse
free
The
rhythms
without
iambics
and
in
(parallel
in
beautiful
are
have.
in
mind
tetrameter,
an
itself
intense,
"Ad
poems.
progress)
of flame."
breeze
short-line
lax, mixing
can
the kinds
separately
is in
analogy
restraint
and
by
feeling,
to
real
It is a good poem, well
and
intense
subtilizes
a
bear
between,
struggle
in a number
of her
indirectly
unforgettable
is about
Alchemist"
once
and
some
the best scansion is
foot by foot, would
movement
iambic
by a control
distinctions
especially
but
comparatively
intensities
the
flesh.
in
enough
bacchiac
sounds.
the theme.
nice
in
the
often
the
poems
occurs
when
often
varies
(light followed
in her
more
straight
of,
or
directly
with
achieving
occurs
verse,
together
frequently
The bacchiac
English
times
grouping
renews
and
contrast
deals directly with
imagery,
delicate
Several
with
trochees,
scans
as
are empowered
extends
poem;
vocations
the
is sounded,
what
that
subject
as
verse
rhythms
passion
of the
in
foot
feature.
stresses
most
she
which
by
pattern.
strong
last verse begins falling but turns back to resolving iambs; its shape,
trochee in the first place, is traditional. The struggle against the
subsides;
Such
iambic
comparative
trochaic
pattern
back
Shifting
pattern).
scans
last
comma. The
iambic with
an
the
a
breaks
occurs in verse eight, of which
apply. It
iamb feminine ending
(others, acceptable
line
next
the
means
of
because
and grouping
rhythm,
unusual
singular
and
trimeter
the
violate
a
line
falling
substitution
of accentual-syllabic.
scansion,
scansion would
iamb
bacchiac
The
a most
strongs),
to be
poetry
correct
in
first
breaks
across
vibrancy
scan
verses
following
scans
as trochee
trochee
of
strength
and
the
line,
iambic
two
the
from the standard procedures
by
her
a
substitution
and forth from rising to falling
often
rising
13. The
9, 10,
is not
of
because
the
strength,
trimeter,
7,
5,
effect
and
"loved"
lose
is
the poem
4,
the
to
is
does,
of
with
struggle
except
the
some
for
traditional
important
too
perhaps
passion
truncated
measure;
mimetic
intensely
its sudden thresh." The poem is about the failure of the will to govern
yet displays, in opposition to that theme, will governing passion to a
in "ceased
passion,
single
continued
majestic
poetic
are legion nowadays?about
our
in
are,
experience
lax and disordered
ferior
The
to
of
more
styles
consistency
and
rhythms,
is the
which
Most
poem.
poems?they
of the control or understanding
than
but
are
poem
Bogan's
same
for the
of
written
displays,
reason
much
in
poems.
Bogan's
view
with
metaphor
the impossibility
the
poem
is stoic,
anti-rational,
pessimistic,
and
at
least
approaches
If "flesh" is not the sole reality, it is the controlling one, and the
physicalism.
mind submits. Since I believe that all four of these views have something seriously
wrong
118
with
them,
my
admiration
needs
explaining.
It will
not
do
to
separate
aesthetics
and
one
since
belief,
or
of
experience"
of
patterns
What
validates
is
a monism,
becomes
neither
nor
politeness
the
its
is
poem
not all
powerful;
to
is
Nor
as
say,
she
this
here
and
in
some
thing,
accord
with
be
imaginative
than
reality
as better
dissolve.
can
truth,
partial
be
and
poem
or
offering,
but
controlled;
logical
problems
relevant,
and
fail;
reasonings
in
belief
seen.
deeply
can
experience
be
is not all there is to say; but there is that
That
other
one should reject the be
are
there
can
rhetoric
grim and must be met honestly.
much
more
and
and that to be consistent
than the beliefs
which
expressed
and
judged
in poems
imaginative
by
are
that
such patterns
imply
Tolerance
Passion
one
for
since,
belief,
moving
can
themselves
patterns
imaginative
to insist
are moved
second
that we
thing,
or across
under
is to
beliefs
experience
valid
liefs.
against
more
is,
of
patterns
are
attitudes
the
by,
it (simply) do to appeal to "imaginative patterns
a
For
more
as
like
experience
that
others,
worse.
the
is moved
to,
responds
in and through the forms, nor will
of her
necessarily
poems
show.
beautifully
a
exemplifying,
truth.
general
The
al
chemist in the poem is one (one individual) who seeks a passion of the mind
and finds unmysterious flesh. Others may successfully go beyond the submission
to passion, for instance the
speaker in "Knowledge," who knows the limits of
and
passion
success
an
its
which
experience
to
seeks
treasures,
goes
learn
beyond
each
verse
the other stanza, but the parallelism
does
is over-structured,
"Knowledge"
"Trees
yerses
quantity
next-to-last
the
verse
ation of the physical,
of and
speaks
very
rare
in
since
respect
is
a
grouping
bacchiac
trochee
poem's
verse
corresponding
is the knowledge
the poem
turns
reflection
of my
from
the
the world.
perception
It is one
the
despite
in fact
she is one
favorites
work;
Bogan's
of
and
Campion
the
but
Herrick;
her
best
the
strange
known
poems,
is
writing
in this
consistent
poets
is
of the poem
crudely
stanza.
second
poor
of the most
stanza
second
to
nature
of
of
Poor
written and has a bad confusion caused by syntax. In "joy you thought"
from the tongue is in meaning other than the powerful joy of youth?the
ence
is the
of the
point
the
comparison.
damages
ets than
simple
stanza?but
syntax
meant.
does
yet
does
harm,
The
last
overstressed
not
for me
because
three
the
Shakespeare
could
obtain;
syntax
of the first stanza, especially
clumsy,
in
verses
In these
the
sound."
light
scansion
of accent
(the
simplest
cre
feminine
abet
the
ending)
ending which
literal, perfected
the Mind"
one
remains
curious
the
the impact of the last two
strengthen
And
/
the
paralleling
in
finds
seeks.
From
"Henceforth,
ness
of the mind's
and
shadow
long
and
the
of
richness
of
a
make
and
beyond
passion
the self.
at
and
syntax
times
in
damage
Bogan
verses
of
emotional
says something
are
the stanza
and
the confusion
them,
in his
thick
syntactical
Piece"
the
"Didactic
syntax
more
says
Bogan's
of the last verse
the
identifies
the joy
differ
in it, is dislocated
force
less
and
heavy-handed
of
the
more
or else very
passage.
confused
clich?s,
Here
than
with
the
she
some
alliteration.
The first stanza, however, is well written and of high
generalizing power, and
the last two stanzas are one of the most perfectly modulated
analogies in English
119
Criticism
poetry. The
that
way
but
sea;
is not phenomenological,
image
easily
enough,
the poem
has
no
one
what
since
hint
of
that.
The
it could have been pushed
though
in a
hears
is one's
shell
view
mind's
of
not
blood,
is
experience
strange,
distant, and modified
by emotion and memory, but the line to reality
there; the echo is of truth. What is true is truly loved, even at a distance.
Love moves
in grief and dreams,
mix
themes
say her poems
other.
by
for
the
the
out
said
"I
there.
of
is a delicate
"Second
says
as
less
to sleeping
to
is still
of her poems;
Song,"
from or descends
comes
often. What
in many
darkly,
deeply,
sleeping,"
the
her
explicitly
is lucid and
is crossed
passion
delicacy
or anal,
or
The
be
salt, black
may
provender."
phrase
vaginal,
or can
to say so is not
to
all I know
but
the
of
force
neither;
prove
explain
since
the power
share
such
of
sources;
many
phrase,
(presumably)
phrases
comes
in the
in some
remains
Its force
incalculable.
poem
phrase
literally
"Second
the
Song"
farewell
whose
"Black
in context, as though she were applying her own
part from its unexpectedness
rule in "Sub Contra" that notes should be "delicate and involute" but "Let there
sound
from
root
music's
note
One
/
can
rage
understand."
to offer "All that is worth / Grief. Give that
She asks of wine in "To Wine."
beat again." Grief is in the strength of her dreams. Dreams open on reality that
the day does not reckon, reality of the mind and, as she hints once in a while,
perhaps
the
touch
kingdom
of
"Come,
each
is sometimes
for
its
the
Maine,
the
for
of
freeing
and
form's
A
undernotes.
but
unconscious;
even when
lucidities
a
to
her
keep
center
severe
of
touch
in her
sounding
a
conscience,
(I like to think)
extremes
where
or
in art
untrammeled
the
a vested memory
pretension,
native
her
she
mind's
with
of
for truth without
rockscape
irradiate
describes,
criticism
modernism
celebrating
never
loses
murmurous
passion
grass;
In her
beyond.
sexuality,
verse
she
of the
meet
and
other.
.
Sleep
in
.
Surely,
Never
."
fresh
magnificently
asks whether
they
(spaced
concise
and
dream;
It
dreaming.
ant, whale,
flower,
palm,
corridor
glassy
dream.
their
bee,
:
replies
in the
whispers
trouble
is about
hers)
periods
phrases,
Never, for them, the dark turreted house reflects itself
In the depthless stream.
The
stream
is of the mind's
not
depth-less,
The
mind.
to be
shades
of
we
are
voice
and it may
depth
measured,
cannot
haunted
yet the house of the poem
iswell built.
Two
poems,
of her best
accounts
imagined
"The Dream"
ful and
cross.
120
known
of
and
less dreamlike
Perhaps
the
clarity
Sleeping
for me
of
be deeper.
and
the stream
Since
goes
in or
of
"The Sleeping
though
very
development,
very
myth,
are
well
done,
in which
the
dreams
conscious
is
the
beyond
their
is a retold
than other poems
narrative
it
reflective
utterance,
"Medusa"
Fury,"
far
how
"The Dream"
and
dreams,
"The
say
meaning;
Fury,"
like
less
are
a dream.
success
flash
visibility
in or
of
Freudian
poems'
"Medusa"
lyrics.
livelier
lyrics
in motion
not
motion;
are
active
than
most.
motion.
stop
one
has
is about
note
the
What
the poem
in
so,
especially
fixes motion;
so that
it
stops,
arrow
not
does
Bogan's
like Medusa,
fixes motion
its
Zeno's
place.
of
The
is itself
motion,
stopped
bell
tipped
is about, beyond
does
active
its
make
example
in
steadier
unlike
of
her
and
shape
she
not
has
fixed
which
"Medusa,"
fly.
and
those
Medusa,
one
each
changeless,
sound.
is not made
the legend,
it sounds
in
get
and
image
becoming
She,
one
usurped
reversals
earned
persuasively
stillness,
as
not
retold,
quite
objects,
If
startlingness
and heard.
struck,
not
the
its motion
perfects
Good
does
or
meanings,
or in mine.
way,
clear. The
is
legend
as
but
although
allegorical,
private
experience.
allegory,
to death,
of fear,
the
the
time,
eternity,
analogies,
past,
apply
paralysis
are
not
such
and
the poem
of trance,
but
analogies,
given
meanings,
no
are
to
of them.
subclasses
of a
class;
any
provides
bridge
Analogies
larger
are not each
so
and
other's
when
subclasses
made
except
meanings,
intentionally
are
sources
its
in the way
Nor
the
that
by
psychic
signals.
poem's
meaning
sources
are
of the
within
"The Dream"
and
"The
part
meaning
psychic
Sleep
to
Sources
and
the
but
does
the
poem
empower
poem;
ing Fury."
analogies
help
not
it
It
and
them.
say
stops.
happens;
One
may
a moment
is of the most
"Old Countryside"
Its
sensuous
description
surface
which
difficulties
make
"we" is unidentified,
The
and
brother
the day
sister.
the first time must
be
occurs
fourth
stanza
last
severe
the
stillness
which
has
the
images
fourth
time
stops
snow,
could be much
matter.
were
and
first
occurs
stanzas,
Memory
even
it could
is elusive.
sequence
un
painfully
"All
time
the
the
of
is
present
in a
and
at
that
place
space,
least one
except
time
"far
The
cannot
that
past
back"
endured
in vision.
winter
to friends,
refer
come
has
irremediably
far
one
and
time,
from the time of the third
suggests
"in the
stanza
since
nearer
that
space,
of
stillest
the
Chronologically
the "winter
before
first
lovers,
proof"
stanzas
in
of
tell the relation between
the
to
on a stormy day. The
the memory
since"
"long
long long since. "Far back"
stanza.
stranger.
in the country house
since
earlier. One
makes
is unsaid,
what
silence
generic:
between
time;
present
lyrics in the language.
suggestive
hold;
obscure
perhaps
time
to a time
refers
the
and
yet
can
eye
the
of the attic
remembered
stanza
third
The
etched
as
firm
impression of clarity is so final that it is startling to find
is the silence. The
heard,
two
is
seems
and
as
though
the
the
and
year"
fourth
stanza,
dry
leaves"
and
the time of the
earlier.
It
contemporary,
does
not
as
does
the poem.
One detail puzzles, either an odd ellipsis or a shift to the godlike, the we pulling
down oak leaves in a winter of dry leaves, as though they were the agents of the
a lyric poem, total
change. The detail in general is simply the finest I know in
in the clarity of what is seen and in the integrity of what is felt: "The summer
like
thunder,
a wooden
along
cloudy
day
121
Criticism
/
The
bell,
attic
/
Rang
floor
in
. . .
the
," ".
storm
. .we
. . .
," the
heard
the
"mirror
cock
/
cast
Shout
the
its
unplaceable
then
the
the
cry,
axe's
of
perfection
Far
love
we
back,
The
scrawled
Red
to the
sound
and
saw,
in the
vine
shudder,
thorns,
a moment
/ Delay
clear
pain
and,
of
of
stillest
and
as
sharp
the
after
last
the
axe's
stroke,"
and
stanza:
the
year,
rose-branch
the
can
sight
show
bear,
The thin hound's body arched against the snow.
The
The
poem
anapestic
iambics,
are
rhythms
is in
substitution
and
the
being
the meter
hers;
uniquely
form
called
the
"the
in much
normal
in
trimeter
graceful
heroic
is conventional
quatrain."
nineteenth-
Except
and
no
variation
stanza
two,
without
for
four
variation.
anapests,
twentieth-century
occurs
that
one
could not find in Dry den's heroic quatrains. The quatrain is traditionally used for
and explicit meditation
and
narrative, generalizing,
(Dryden's Annus Mirabilis
a Country
in
Written
it
is
used
for
here
Gray's Elegy
Churchyard);
particulariz
ing,
and
Its
meditation.
implicit
memories.
is
"narration"
the
narrating
and
relating
of
in Gray and Dryden,
it focuses motion and stillness in
a
it
and
achieves
tones;
quietly echoing
sharpness of definition unique in the
examples I know of the form, either historical or modern.
Like much
In "Song for the Last Act," perhaps her greatest poem and certainly the one I
find most moving, her powerfully controlled energies throb with a different res
onance. Of all her poems it has the most visible frame (a variation of the refrain
verse is
repeated at both the beginning and end of each of the three stanzas)
and
the most
radical
Now
of
wildness
and
meaning
image.
that I have your face by heart, I look
at
Less
Where
its features
quince
than
its
and melon,
darkening
as
yellow
frame
young
flame,
Lie with quilled dahlias and the shepherd's crook.
a
Beyond,
garden.
ease
in insolent
There,
The lead and marble figures watch the show
Of yet another summer loath to go
Although the scythes hang in the apple trees.
Now
that I have your face by heart, I look.
Now that I have your voice by heart, I read
In the black chords upon a
dulling page
that
Music
Whose
The
staves
Unprinted
I must
The
Now
122
is not meant
for music's
emblems mix with words
are
over
shuttled
with
cage,
that shake and bleed.
a stark
silence. In a double dream
out the
spell
too swift.
beat's
storm,
The
the
notes
stream.
running
shift
in the dark.
that I have your voice by heart, I read.
that I have your heart by heart, I see
Now
The
their
with
wharves
great
and
ships
architraves;
The rigging and the cargo and the slaves
a
On
a broken
under
beach
strange
sky.
O not departure, but a voyage done!
The
rust
red
Now
music
breaks
its
on
only
bleed;
notes
I have
to
as
one
mystery,
the music
includes
are
streams."
The
cage;
over with
the
to an
third
and
my
even
stanza,
in
last
death.
the
stanza,
clear
abundantly
of oncoming
much
first
and
the
certainly,
as
moves
poem
plangent
the
red
Beside
Now
123
Criticism
rust
and
the
dream"
details
was
stream
book
Teasdale's
Poetry. The
in winter
locked
some
love
knowledge
in Modern
water
into
"double
from
first
downward,
from
the
away
shifting
a
the sea's
port,
edge
of
image
image,
of
realized with
as much
stanza's,
. .
Its
notes
a
"In
book.)
It is a traditional
and
The
echoes
and
is like knowing
the
beyond
read
however,
meaning,
general
Like
/
stanza
silence
shake
words,
the
To
storming
the music
addressed
in Achievement
seems
more
same
metaphors:
mix
with
subject
feeling.
to the
shift
of
(The
image
from Sara
"Secret
Treasure"
music
in
the
and
from
that I have
(the music)."
the second
in
the
and
through
second
in
portrait
sur-rationality
"Now
returns,
The
silence.
regret
as much
and
control
stanza's,
on shaded
and
meaning
image
feeling
beauty
a
self-inconsistent
is to relate the formulable
silence.
lines
small
by heart,
it. The
music
the person
in
does,
and
meaning
to
repeat
the
emblems
reaches
the
I read
read
praised by Bogan
that
Garden"
Darkening
In
not
"Fear
the
two
by
sl book
Strange Victory,
lines
and
influenced
probably
one
and
passage,
in
face
a
is general,
and
needs
in music
stanza
and
musical
voice
understanding
what
the
the
is
face
reaches,
the
your
not
to
and pain and passion. To understand
the
share
A
the
firm shapes, yet
seemingly
nature
parts.
quite
statable
shuttled
clear:
and
with
of the first stanza
precisely
itself
and
are
is in its tending
musical
look,"
paraphrase
is not
for music's
page
the staves
I see.
and
of
varied
is
heart
beyond
To
passion.
creeps
sun.
a window
by time and itself painted with flowers, by
or the face is framed by a garden behind which
garden;
that
"Now
by
loose
the
Art
seeming.
relation
the
I
heart,
by
stanza:
weeps
vine
heart,
description
in the opening
The metaphor
of
a
visualize
face
anchor
long
by
statement
Neither
garden.
stanza.
for the second
is another
second
the
heart
your
frame is darkened
gives on an actual
prepares
have
I have
that
exactly
your
and
downward,
in a way
is
the
stone;
first stanza is mellow
The
firmness
whose
which
the
the salt herb, in the lengthening
Beside
cannot
on
stand
bales
Its
as
that
.
and
of
any
the
the
long
poem
anchor
vine
the salt herb, in the lengthening
greatness,
strangeness
measure
of
exact
the
creeps
sun.
that I have your heart by heart, I see.
of meaning
an
image
as
as
the
pain
sound
touched
in our
weeps
as
with
of
heritage:
is a
It
long
as
and
poem,
is always,
greatness
as
great
finally,
is
English
to my
substantial
is to
spoken
say
too
argument.
For
case
the
say that some of her
the poems. To
little.
For
since
value
for
poetic
lyrics will
in
inheres
last
eternity,
the worth of her poems is not finally to be measured by the length of enduring.
To have written "Song for the Last Act," "Old Countryside," "Men Loved Wholly
"Didactic
Wisdom,"
Beyond
"The Alchemist,"
very nearly
ments
of
Next
Issue
"Second
comparable
the
human
"Medusa,"
Piece,"
Song,"
"Night,"
excellence
spirit,
and
to deserve
Poetry
Stephen Berg
Hanson
Lawrence
Kramer
John Logan
W.
S. Merwin
Steven
Dennis
Dennis
Charles
Orlen
Saleh
Schmitz
Simic
T?te
James
C. K. Williams
and others
Fiction
Robert Kelly
Steve
Robert
Katz
Coo ver
Criticism
Sherman Paul on Gary Snyder (part 2)
With a new poem by Snyder
Donald
Heiney
on Natalia
Ginzburg
With translations of new pieces by Ginzburg
Robert Scholes on the Metafiction of
Barth,
Barthelme,
Coover,
and
Gass
El?seo Vivas on Reality in Literature
124
our
from
"Henceforth,
some
dozens
is to have wrought
TIR 1/4 AUTUMN 1970
Kenneth
and
celebration
of
the
other
one of the
high
and
our
love.
Mind,"
poems
of
achieve