Congratulations on reaching the end of a very trying semester. I’m proud of what our class has accomplished this spring, and I admire your creativity, flexibility and hard work. On the first day of class, we did a brainstorming exercise on the question “What is poetry?” Here’s part of what you came up with:
"Limitless" was my favorite keyword from this exercise.I am curious to know what you’d say now—after having spent a semester in this class, in strange times—about what poetry is, and what it can do? What does it demand of us, as readers? What are some of your favorite poems of the semester? Drop your thoughts in the comments.
On Feb 11, we wrote a poem together using the “exquisite corpse method,” during which we each contributed. We came up with these strange and beautiful lines.
Class Poem, "Musical Chaos" (composed by everyone, Feb 11, 2020)
Immense trumpet ran interesting basketball Scary cat slipped in a spicy suitcase Delicate temple flourishes transparent chocolate. Loveable paper escapes with Spanish paint Twinkly music walks.
I’ve posted this before, but I’m still entranced by this “Exquisite Corps” dance video (corps=body a people engaged in a particular activity) from 2016 that has resurfaced on the web during COVID-19. As you can see, the thumbnail is weirdly reminiscent of a Zoom video. Choregraphed individually, and showing dancers physically apart (and in many cases seemingly in isolation), the final product exemplifies what it means to collaborate together but apart: improvisational, speculative, and ultimately exquisite. It's something of this spirit that I'd like you to take from this class.
There’s no tidy way to wrap up a course about poetry, especially one in which we’ve emphasized improvisation and ambiguity: so for now I’d like to leave you with reflections from two of my favorite writers: Audre’s Lorde’s words about poetry, and Langston Hughes’ poem about words.
“Poetry is the way we help give name to the nameless so it can be thought. The farthest external horizons of our hopes and fears are cobbled by our poems, carved from the rock experiences of our daily lives….Right now, I could name at least ten
ideas I would have once found intolerable or incomprehensible and frightening, except
as they came after dreams and poems. This is not idle fantasy, but the true meaning of
“it feels right to me.” We can train ourselves to respect our feelings, and to discipline
(transpose) them into a language that matches those feelings so they can be shared.
And where that language does not yet exist, it is our poetry which helps to fashion it.
Poetry is not only dream or vision, it is the skeleton architecture of our lives.”
A round of applause for group 5, our final presentation! Thanks to Anjali, Arefah, Azhar, Gianna, and Manav. Comment/respond by Sun, April 26.
Gianna and Manav - ODE POETRY In the realm of poetry, an ode is a lyrical piece written in order to honor someone, some place or something. It is usually concise and not very long. The word ode is derived from the Greek word oide (ᾠδή) which translates to “chanting” or “singing.” Likewise, an ode is very lyrical. Originally, Greek odes were accompanied by music. Odes are directly addressing the thing it is honoring through figurative language and glorification. In odes, it is common to use personification, extended metaphors, and celebratory language in order to express the poem’s themes and messages. There are three kinds of odes: Pindaric ode, Horatian ode, and irregular ode.
The Pindaric and Horatian odes are named after the Greek poets whose styles they embody: Pindaric after the Greek poet Pindar and Horatian after the Latin poet Horace. Pindaric odes contain three types of distinct structures: strophe, antistrophe and the final stanza as epode.
A strophe means that in the poem, two or more lines are repeated together.
An antistrophe simply means the second division of the poem.
An epode is then used to conclude the ode, which is a line summarizing the topic.
The Horatian ode, in contrast to the formal Pindaric ode, is written with a more intimate and contemplative tone. Horatian odes are homostrophic odes, meaning that every stanzas in the ode uses identical structure, rhyme, and meter throughout the poem.
Lastly, the irregular ode is true to its name: it does not have any specific rhyme scheme or structure, giving the author flexibility in terms of topic and word choice. Though the irregular ode does not have any specific requirements to its form and structure, the meaning of the ode has to stay true to its definition. Below are two examples of poetry that are polar opposites of one another in tone, rhyme scheme, structure, and emotion, yet these two poems are both considered to be odes. One is seen to be proper while the other has a fun and upbeat tone, however, they both possess the qualities of an ode.
In Ode to a Nightingale, which was published in 1819, has the same rhyme scheme throughout the poem which is ABAB CDE CDE and though is not a perfect Horatian ode, this piece inhibits the qualities of a Horatian ode. This ode is an example of how odes are able to inspect deep sentiments in a literary form along with honoring one idea through metaphor.
On the other hand, deep sentiment is not always the main signifier of an ode, the glorification is. In Ode to Fetty Wap, which was written in 2018,Marsh does not have death as a main focus, however, imagination and thought do come into play in the ode through the narrator’s dedication to Fetty Wap.
In Ode to Fetty Wap, praise is shown in these lines; “then the Rap Gawd made a woman/ from the eye he had taken out of the man./ the creation story of Fetty/ the first trap rapper to make a song/ I might play at my wedding” (lines 13-17). The narrator expresses the adoration they have for Fetty Wap’s song to the point where they may play the song at their wedding. This celebratory phrase allows the purpose of the ode to reveal itself.
In Ode to Nightingale, the metaphor of the Nightingale expresses the purpose of the poem to be hidden within the nightingale. Within the poem this line speaks volumes; “Thou wast not born for death, immortal Bird!” (line 63). Keats explores the idea that humans, unlike nightingales who live forever through their songs, are mortal. Later in the poem, the inevitability of death settles within the narrator through the narrator’s perception of the nightingale. This dedication is to the nightingale for opening his eyes to death.
Ultimately, ode poetry has had a rich history that has changed meaning from “chat” to “celebration,” however, the internal reflection one needs to take is still required for the process. Throughout the years, some of the most famous odes were written by William Wordsworth, Samuel Taylor Coleridge, and John Keats and with these poets, they created a path for modern writers to express internal thought within their poetry. The ode is significant in literature because of its romantic nature. In the 18th and 19th centuries, odes were a way of conveying victory and adoration and because they allow the author to deliver their deepest sentiments, odes are a crucial element of literature. The most well known odes are written by poets from the 18th and 19th century, however, ode poetry is still relevant to everyday writing.
Everyday as individuals we reflect on our lives. We reflect on the day we had, our friends, our family, our pets, our meals, etc. and with these reflections, comes gratification and appreciation. Ode poetry is that key that unlocks our need for internal glorification and imagination in order to reflect and celebrate the things we love and accept.
Anjali and Azhar - ELEGIAC POETRY
Elegiac poetry started in ancient Greece as a poetic form that incorporated meter, and is traditionally written after the loss of an individual or group. In most cases, elegies serve the purpose of mourning the death of a loved one. However, they can be about different feelings of melancholy, a sense of loss, or even about a life well-lived (a celebration of sorts), as opposed to only focusing on death. These key components of traditional elegies are considered to be the three stages of loss. It starts with the speaker expressing grief and melancholy, followed by admiration of the dead, and finally leading to comfort with the reality of their absence. This is the standard format of an elegy poem, though some may differ.
“O Captain! My Captain!” is an elegy written by Walt Whitman in 1865 in honor of Abraham Lincoln. First published in the pamphlet Sequel to Drum-Taps, a series of 18 poems addressing the Civil War, this elegy was written to commemorate Lincoln’s assasination. This particular poem of Whitman’s soon became his most renowned poem as the despair brought forth in this poem united the nation and its people in this period of grief.
The entire poem represents an extended metaphor, consisting of comparing President Lincoln to that of a captain of a ship, the United States to the ship, with lastly, the Civil War representing the voyage.
Whitman brings forth the two ideas of victory and loss, juggling the two closely intertwined concepts as seen in the first stanza. These opening lines follow the common pattern of AABB, along with an iambic pattern. Beginning with a joyful tone, the two initial couplets of the poem accentuate the victory surrounding the war and its end. However, this joyful remainder of the victory is shattered in lines 4-8, when the reader and the nation is once again reminded of the deaths that surround the war, all the lives lost, the most haunting death being that of President Lincoln’s, our captain. This juxtaposition between victory and loss is highlighted through the tone and language of the poem. The speaker initially mentions the “prize we sought is won” to breaking off into “But O heart! heart! Heart!” speaking of the “the bleeding drops of red.” This sudden transition deepens the pain and agony of the people, bonding the victory to the inevitable death involved alongside it.
In the second stanza, the repetition of the word “you” : “for you the flag is flung”—for you the bugle thrills, For you bouquets and ribbon’d wreaths—for you the shores a-crowding,” addresses the words to Lincoln, further spotlighting his absence during this prime time of victory. It also showcases the irony present there in that the individual who led the war and aided in the victory is not here to celebrate with us. The ringing bells, bouquets and ribbon wreaths with crowds cheering and screaming were all for you, Abraham Lincoln, but he is not present with us to see it. The imagery of these joyous scenarios again juxtapose the upcoming mention of death as his “cold and dead” body are underlined.
The reader also contemplates the speaker’s relationship with their words; the speaker not only compares Lincoln to the captain of the ship, but refers to President Lincoln as “my” captain, emphasizing their own personal connection. In my opinion, what makes this elegy so unique is how it is not only the grief and pain of the nation that is captured, but the one personal attachment Whitman had to the President, two different groups mourning the same death within one poem. Along with that, unlike most other common elegies, Whitman alternates between mourning and praising the Captain, mourning his death, praising his victory, in a repeated cycle.
Elegies suffer as a more personal, intimate poem compared to others. The assasination of Abraham Lincoln struck Walt Whitman and many others as a loss of one of their own. It is through forms of poetry such as this one that private feelings are brought out, and many are brought together in this time of sadness.
“O Captain! My Captain!” by Nadia Nasir - Poetry Out Loud
The 1700s brought the rise of the elegiac stanza, although use of the elegiac stanza has not been limited to elegies only. The older, widely-used term for this type of stanza was heroic stanza, but it became associated with elegies after Thomas Gray used it in his poem, “An Elegy Written in a Country Church Yard” in 1751. It is a quatrain written in iambic pentameter with the ABAB rhyme scheme. The elegiac stanza is usually used at the start of a poem, as shown below.
The curfew tolls the knell of parting day,
The lowing herd wind slowly o'er the lea,
The plowman homeward plods his weary way,
And leaves the world to darkness and to me.
The stanza above is the first stanza of Thomas Gray’s, “An Elegy Written in a Country Church Yard.” The stanza follows the ABAB rhyme scheme and fits the meters of iambic pentameter, satisfying the requirements of an elegiac stanza. Gray starts the stanza off with a metaphor in the first line, comparing the end of day to the end of a life. Curfew, symbolic of the day ending, is associated with a knell, which is a bell rang to announce a death. He then uses the next two lines to remove all other factors in the scene he creates, only leaving him and the darkness, which he must share the world with. He continues to use elegiac stanzas for the rest of the poem, drifting away from the now-norm to only use an elegiac stanza at the start of an elegy.
In this elegy, the speaker finds himself in a cemetery, or “churchyard”, looking at the gravestones of the townspeople that have passed. He begins imagining the type of lives each of these individuals might have lived, and realizes that due to their poverty, their tombstones are pretty simple. However, he acknowledges that it doesn’t matter how extravagant your tombstone is when you’re dead. This acknowledgment leads to a realization that he himself will die, which then leads to him imagining someone else in the future in his place, roaming the cemetery and coming across his gravestone. He ends the elegy with an epitaph for himself. Throughout the poem, Gray writes on the lives of those that are dead; initially, he writes about the individuals whose tombstones he comes across in the cemetery, and towards the end, he writes on his own death, in the perspective of others visiting the cemetery after his time has passed.
Essentially, elegies have provided a blank canvas for not just poets, but individuals of all backgrounds to write for those who are gone. Whether it be a piece of mourning, celebration, or comfort, elegies allow individuals to reflect on the absence of someone they considered worth writing for.
Arefah and Harsh - PRAISE SONG POETRY
Praise songs, or commonly referred to as praise poetry, is one of the more widely and accepted forms of poetry that was used primarily in Africa. As its literal meaning, praise poetry is used to praise chiefs, kings, gods, men, animals and even plants for their heroic and valiant efforts/contributions for the greater good. For most cases, praise songs act as reminders for those making such contributions to continue doing good for the community they represent. Praise poetry, although commonly used to boast the achievements of royal figures, ordinary men and women can be subjects of a praise song as well.
Praise poems can commend any person for his skills or personality. In “The Warrior’s Homecoming”, the women of the village give praise to the warrior that has returned back to them. The warrior, Agyei, is a surname common in Ghana, especially among the Akan people. The women sing, celebrating for his triumphant return, as he is carried through the village on the shoulders of the men. Being a warrior is much more than combat, as he is strong and does not give up easily. Agyei is commended for his purpose in life to serve and protect as well as his courage to face death, not knowing whether or not he will return.
The Warrior’s Homecoming
translated by K. Nketia
‘Akan Poetry’
from Black Orpheus 3 (May 1958)
He is coming, he is coming,
Treading along on camel blanket in triumph.
Yes, stranger, we are bestirring ourselves.
Agyei the warrior is drunk,
The green mamba with fearful eyes.
Yes, Agyei the warrior,
He is treading along on camel blanket in triumph:
Make way for him.
He is coming, he is coming,
Treading along on sandals.
Yes, stranger, we are bestirring ourselves.
Adum Agyei is drunk,
The green mamba, Afaafa Adu.
Yes, Agyei the warrior,
He is treading along on camel blanket in triumph:
Make way for him.
In the poem above, there is repetition that is used all throughout. The first and third stanza repeat, “He is coming, he is coming,” anticipating the return of a warrior who has been gone for some time now. Although he is a stranger to them, it is their village that he serves and they are making an effort to commemorate his sacrifice and valiant effort. Along with the repetition, the italics and indentation of the second and final stanza reinforces that they are chanting to make way for the warrior and make him feel welcome.
To emphasize that ordinary men and women can be the subject of praise poetry, William Butler Yeats’s poem, “A Drunken Man’s Praise of Sobriety” discusses the different drunken experiences that people have. The poet invites you to join his company and keep him from losing sight of reality and becoming a drunk man. He gives praise to the sobriety that he so he dearly desires.
A Drunken Man’s Praise of Sobriety
William Butler Yeats
COME swish around, my pretty punk,
And keep me dancing still
That I may stay a sober man
Although I drink my fill.
Sobriety is a jewel
That I do much adore;
And therefore keep me dancing
Though drunkards lie and snore.
O mind your feet, O mind your feet,
Keep dancing like a wave,
And under every dancer
A dead man in his grave.
No ups and downs, my pretty,
A mermaid, not a punk;
A drunkard is a dead man,
And all dead men are drunk.
To be “drunk” means to be intoxicated, whether it be with love, power, or even alcohol in the literal sense. Yeats compares sobriety as a jewel, precious and of value meanwhile, “A drunkard is a dead man”. With the constant repetition that being drunk is the equivalent to being dead, Yeats gives praise for sobriety. He highlights with his imagery and tone, the dangers of being inebriated and the detachment from your sense of reality. “Drunk” people are not able to see the true beauty of life as they are unhinged.
Praise poetry can also be used to highlight a leader’s inability to carry out tasks as he/she should. Choosing this form, allows a praise poet to expose said person and put them into the public light in hopes that he/she will change and help benefit the community. A primary example of such praise poetry is seen in the following poem entitled “The Abdication”. In this, the poet is criticizing Sini, who was the wife King Tumi Taki, who overthrew him and made her new lover (King Sisi) the new King. Sisi was given the crown on the condition that he abandon his lover and devote his time to serving the people, which he refused to do. His refusal questioned his leadership traits and therefore lost the support and the trust of the people in his kingdom.
The Abdication
SINI
After the death of Gamma Kegocci,
Tumi Taki has left me empty-handed.
There are cows full of milk,
But he never instructs the people to milk them.
There are beehives full of honey,
But he never instructs the people to empty them.
There are oxen ready for ploughing,
But he never orders the people to harness them.
He has become just like a commoner!
He has become just like a medium!
Since he has become king
Sorghum does not grow:
Since he has become king
Cows do not give milk:
Since he has become king
The royal trumpet is hardly blown.
I am surrounded by weeds,
I am surrounded by maskal flowers.
Let Sisiti become king,
Let Sisiti become king
And make the country greater!
The kingship would be in good hands with him.
SISI
Your figure is pleasing
Like the fat tail of a sheep:
The sight of your hips is pleasing,
The gums of your teeth are pleasing,
Like the fat tail of a sheep.
My lady, who gives me butter,
My lady, who dresses so well,
My lady, who wears colourful garb,
My lady, who wears fine cloth,
Do you ask me to leave her?
Do you ask me to lose my love?
Would that you lose your oxen grazing in pasture!
Would that your oxen leave their stalls!
Would that your cows leave their stalls!
Would that your barley leave your fields!
Would that your teff grains leave your fields!
In this example of praise poetry, it is important to note a repetitive order that is used to emphasize a certain point. Praise poetry utilizes repetition as it’s most effective in getting a point across. In the first portion of the poem, the praise poet uses “But he never” to highlight certain orders that Sisi has failed to enforce as the newly crowned leader, in which blame is given to Sini for having recommended him for the position in the first place. The repetition of “since he has become king” is effective in highlighting how once positive attributes in the kingdom have now turned into negative changes as a result of his leadership. In the latter half of the poem, which is now focusing on Sisi’s reluctance to abandon his lover, a similar pattern of repetition is present. His adding of “my lady, who” shows the dependency that Sisi has on Sini with all that she provides for him. It is this very impact that blinds Sisi from carrying out his duties as a leader. Lastly, Sisi’s mentioning of “would that your” is meant to try and reach the hearts of those criticizing him by asking what they would do if they were put into such a situation if something they cherish and love were to be stripped from them.
Arguably one of the most powerful mediums in poetry, praise songs are intended to ultimately enact change. Its purpose is rooted in a poet’s desire to celebrate the accomplishments of a figure which ultimately boosts morale. In other times, poet’s are hoping to highlight changes that could be made in order to ensure stability in societies similar to the one mentioned in “The Abdication”.
Gianna’s DQ: How does imagination (internal thought) and reality work together to create a stream of consciousness in ode poetry, especially in the poem Ode to a Nightingale
Manav’s DQ: How are odes similar to other styles of poetry? How does it differ? Use the two odes posted above to show similar and differing characteristics.
Azhar’s DQ: An elegiac stanza has four lines written in iambic pentameter with an alternative rhyme scheme (ABAB). Attempt to write an elegiac stanza that someone might write about you, 100 years from now.
Anjali’s DQ: Out of the three variations of poems —odes, elegies, and praise songs— think about which one you would want to have written about you and why. Explain what you think would be included, and why this particular form stood out to you.
Arefah’s DQ: Given that praise poetry commends accomplishments with its carefully selected language, do you think the rap genre (which typically has lyrics reflecting on an underrepresented group) has the same effect?
Harsh’s DQ: Granted that 2 of the 3 examples of praise poetry are centered around praising ordinary figures like ordinary men and women, and the third example is praising one’s inability to keep up with ordinance, are there any parallels (specifically in the delivery of the poem) being drawn from the 3 examples? Are there examples that you have read outside or inside class that follow a similar delivery pattern?
