Reading Other Poems

Besides an idiosyncratic and unique personal identity, all of us have social identity, arising from groups to which we belong or are consigned. As you read the following poems, consider what portion of social identity each speaker claims as his or her own, or ascribes to his characters. Robert Southwell’s speaker, for instance, has a vision identifying him as a Christian believer; Thomas Nashe’s speaker is a victim of the plague for whom the whole world has narrowed into one great mortuary. We may know only one identifying trait of the speaker from the thematic content of the poem. (We may know other traits from the speaker’s tone, the images used, and so on.)

Would you rather read a poem that you can speak without feeling that a particular person uttered it — a poem that can be uttered by almost anyone, because its feelings are so general, and its speaker so apparently universal? Or would you rather feel that the poem is introducing you to the life and speech of a unique individual? (Neither one of these is better than the other; but we all have varying aesthetic responses, and you may prefer one to the other; reflect on why you do.)

Poems exploring social identity must often face the fact that not all members of the social group share the same attitudes.

ROBERT SOUTHWELL (1561 – 1595)

The Burning Babe

As I in hoary winter’s night stood shivering in the snow,

Surprised I was with sudden heat which made my heart to glow;

And lifting up a fearful eye to view what fire was near,

A pretty babe all burning bright did in the air appear;

Who, scorchèd with excessive heat, such floods of tears did shed

As though his floods should quench his flames which with his tears were fed.

“Alas,” quoth he, “but newly born in fiery heats I fry,

Yet none approach to warm their hearts or feel my fire but I!

My faultless breast the furnace is, the fuel wounding thorns,

Love is the fire, and sighs the smoke, the ashes shame and scorns;

The fuel justice layeth on, and mercy blows the coals,

The metal in this furnace wrought are men’s defilèd souls,

For which, as now on fire I am to work them to their good,

So will I melt into a bath to wash them in my blood.”

With this he vanished out of sight and swiftly shrunk away,

And straight I callèd unto mind that it was Christmas day.

THOMAS NASHE (1567 – c. 1601)

A Litany in Time of Plague

Adieu, farewell, earth’s bliss;

This world uncertain is;

Fond are life’s lustful joys;

Death proves them all but toys;

None from his darts can fly;

I am sick, I must die.

Lord, have mercy on us!

Rich men, trust not in wealth,

Gold cannot buy you health;

Physic himself must fade.

All things to end are made,

The plague full swift goes by;

I am sick, I must die.

Lord, have mercy on us!

Beauty is but a flower

Which wrinkles will devour;

Brightness falls from the air;

Queens have died young and fair;

Dust hath closed Helen’s eye.

I am sick, I must die.

Lord, have mercy on us!

Strength stoops unto the grave,

Worms feed on Hector brave;

Swords may not fight with fate,

Earth still holds ope her gate.

“Come, come!” the bells do cry.

I am sick, I must die.

Lord, have mercy on us.

Wit with his wantonness

Tasteth death’s bitterness;

Hell’s executioner

Hath no ears for to hear

What vain art can reply.

I am sick, I must die.

Lord, have mercy on us.

Haste, therefore, each degree,

To welcome destiny;

Heaven is our heritage,

Earth but a player’s stage;

Mount we unto the sky.

I am sick, I must die.

Lord, have mercy on us.

ANNE BRADSTREET (c. 1612 – 1672)

A Letter to Her Husband, Absent upon Public Employment

My head, my heart, mine eyes, my life, nay, more,

My joy, my magazine° of earthly store,storehouse

If two be one, as surely thou and I,

How stayest thou there, whilst I at Ipswich lie?

So many steps, head from the heart to sever,

If but a neck, soon should we be together.

I, like the Earth this season, mourn in black,

My Sun is gone so far in’s zodiac,

Whom whilst I ’joyed, nor storms, nor frost I felt,

His warmth such frigid colds did cause to melt.

My chillèd limbs now numbèd lie forlorn;

Return; return, sweet Sol, from Capricorn;

In this dead time, alas, what can I more

Than view those fruits which through thy heat I bore?

Which sweet contentment yield me for a space,

True living pictures of their father’s face.

O strange effect! now thou art southward gone,

I weary grow the tedious day so long;

But when thou northward to me shalt return,

I wish my Sun may never set, but burn

Within the Cancer of my glowing breast,

The welcome house of him my dearest guest.

Where ever, ever stay, and go not thence,

Till nature’s sad decree shall call thee hence;

Flesh of thy flesh, bone of thy bone,

I here, thou there, yet both but one.

WILLIAM BLAKE (1757 – 1827)

The Little Black Boy

My mother bore me in the southern wild,

And I am black, but O! my soul is white;

White as an angel is the English child:

But I am black as if bereav’d of light.

My mother taught me underneath a tree,

And sitting down before the heat of day,

She took me on her lap and kissèd me,

And pointing to the east, began to say:

“Look on the rising sun: there God does live,

And gives his light, and gives his heat away;

And flowers and trees and beasts and men receive

Comfort in morning, joy in the noon day.

“And we are put on earth a little space,

That we may learn to bear the beams of love,

And these black bodies and this sun-burnt face

Is but a cloud, and like a shady grove.

“For when our souls have learn’d the heat to bear,

The cloud will vanish; we shall hear his voice,

Saying: ‘Come out from the grove, my love & care,

And round my golden tent like lambs rejoice.’”

Thus did my mother say, and kissèd me;

And thus I say to little English boy:

When I from black and he from white cloud free,

And round the tent of God like lambs we joy,

I’ll shade him from the heat till he can bear

To lean in joy upon our father’s knee;

And then I’ll stand and stroke his silver hair,

And be like him, and he will then love me.

EDWARD LEAR (1812 – 1888)

How Pleasant to Know Mr. Lear

How pleasant to know Mr. Lear!

Who has written such volumes of stuff!

Some think him ill-tempered and queer,

But a few think him pleasant enough.

His mind is concrete and fastidious,

His nose is remarkably big;

His visage is more or less hideous,

His beard it resembles a wig.

He has ears, and two eyes, and ten fingers,

Leastways if you reckon two thumbs;

Long ago he was one of the singers,

But now he is one of the dumbs.

He sits in a beautiful parlor,

With hundreds of books on the wall;

He drinks a great deal of Marsala,

But never gets tipsy at all.

He has many friends, laymen and clerical;

Old Foss is the name of his cat;

His body is perfectly spherical,

He weareth a runcible hat.

When he walks in a waterproof white,

The children run after him so!

Calling out, “He’s come out in his night-

Gown, that crazy old Englishman, oh!”

He weeps by the side of the ocean,

He weeps on the top of the hill;

He purchases pancakes and lotion,

And chocolate shrimps from the mill.

He reads but he cannot speak Spanish,

He cannot abide ginger-beer:

Ere the days of his pilgrimage vanish,

How pleasant to know Mr. Lear!

GERARD MANLEY HOPKINS (1844 – 1889)

Felix Randal

Felix Randal the farrier,° O is he dead then? blacksmith

my duty all ended,

Who have watched his mould of man, big-boned and hardy-handsome

Pining, pining, till time when reason rambled in it and some

Fatal four disorders, fleshed there, all contended?

Sickness broke him. Impatient, he cursed at first, but mended

Being anointed° and all; though a heavenlierin last rites heart began some

Months earlier, since I had our sweet reprieve

and ransom°Holy Communion

Tendered to him. Ah well, God rest him all road ever he offended!

This seeing the sick endears them to us, us too it endears.

My tongue had taught thee comfort, touch had quenched thy tears,

Thy tears that touched my heart, child, Felix, poor Felix Randal;

How far from then forethought of, all thy more boisterous years,

When thou at the random° grim forge, powerful ramshackle

amidst peers,

Didst fettle° for the great grey drayhorse his bright shape

and battering sandal!

DAVID MURA (b. 1952)

An Argument: On 1942

For My Mother

Near Rose’s Chop Suey and Jinosuke’s grocery,

the temple where incense hovered and inspired

dense evening chants (prayers for Buddha’s mercy,

colorless and deep), that day he was fired . . .

— No, no, no, she tells me. Why bring it back?

The camps are over. (Also overly dramatic.)

Forget shoyu°-stained furoshiki,°soy sauce / scarf

mochi° on a stick: rice cakes

You’re like a terrier, David, gnawing a bone, an old, old trick . . .

Mostly we were bored. Women cooked and sewed,

men played blackjack, dug gardens, a benjotoilet

Who noticed barbed wire, guards in the towers?

We were children, hunting stones, birds, wild flowers.

Yes, Mother hid tins of tsukemono° and eel pickles

beneath the bed. And when the last was peeled,

clamped tight her lips, growing thinner and thinner.

But cancer not the camps made her throat blacker

. . . And she didn’t die then . . . after the war, in St. Paul,

you weren’t even born. Oh I know, I know, it’s all

part of your job, your way, but why can’t you glean

how far we’ve come, how much I can’t recall —

David, it was so long ago — how useless it seems . . .

RITA DOVE (b. 1952)

Wingfoot Lake

(Independence Day, 1964)

On her 36th birthday, Thomas° had shown her Beulah’s dead

her first swimming pool. It had been husband

his favorite color, exactly — just

so much of it, the swimmers’ white arms jutting

into the chevrons of high society.

She had rolled up her window

and told him to drive on, fast.

Now this act of mercy: four daughters

dragging her to their husbands’ company picnic,

white families on one side and them

on the other, unpacking the same

squeeze bottles of Heinz, the same

waxy beef patties and Salem potato chip bags.

So he was dead for the first time

on Fourth of July — ten years ago

had been harder, waiting for something to happen,

and ten years before that, the girls

like young horses eyeing the track.

Last August she stood alone for hours

in front of the T.V. set

as a crow’s wing moved slowly through

the white streets of government.

That brave swimming

scared her, like Joanna saying

Mother, we’re Afro-Americans now!

What did she know about Africa?

Were there lakes like this one

with a rowboat pushed under the pier?

Or Thomas’ Great Mississippi

with its sullen silks? (There was

the Nile but the Nile belonged

to God.) Where she came from

was the past, 12 miles into town

where nobody had locked their back door,

and Goodyear hadn’t begun to dream of a park

under the company symbol, a white foot

sprouting two small wings.

SHEILA ORTIZ TAYLOR (b. 1939)

The Way Back

for Uncle Jim