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Friday, August 21, 2020

A. E. Stallings: Argos, Odysseus' Dog

(image source: Rachel Bostwick)
no copyright infringement intended



(See Odyssey 17.290-327)

another hunting dog poem, i.m. Timothy Murphy


Argos, with your mange-scabbed coat,
Shipwreck of ribs, washed up among
The midden's refuse, the mules' dung,
Do you still track the wild goat

Through dreams of oregano and thyme?
You lift your head and prick your ears.
Voice that marooned you twenty years
Ago, sails back, still in its prime

To ask the swineherd why you sleep
Outside the walls, seething with fleas,
He speaks of breeding, pedigrees.
The ordure shifts, piled soft and deep.

Remember black ships rigged for Troy?
Quayside, just weaned, you whimpered. Stay,
He anchored you. And you obey:
You stay still. No-one croons "Good boy."




The Story of Odysseus as Told by His Loyal Dog
(video by Rachel Bostwick)





(A. E. Stallings)

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Sunday, August 16, 2020

A.E. Stallings, Extinction, Laserpicium

ancient silver coin from Cyrene
depicting a stalk of Silphium
(source: artifacts)
no copyright infringement intended



Quam magnus numerus Libyssae harenae
lasarpiciferis iacet Cyrenis

Consider silphium, extinguished flower,
Kin to the wild carrot, Queen Anne’s lace,
Fennel and dill, and rooted now no place
On earth, that once was worth an empress’ dower,
A Caesar’s ransom. Silphium was power
Stored in Rome’s coffers, stamped upon the face
Of silver tet
radrachms, a thing to base
The wealth of nations on. Now past its hour,
Stamped out, its numbers harvested to zero,
What properties, what cures were in an ounce
Are lost to us—mere footnote to the pleasure
Out of a poem—“kisses without measure.”
The last stalk ever found, Pliny recounts,
Presented as a rarity to Nero.




(A. E. Stallings)

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Friday, July 17, 2020

A. E. Stallings, The Sculptor vs. the Poet

Marble can be toppled, yet words are eternal
(source: The American Scholar)
no copyrightr infringement intended


A. E. Stallings in The American Scholar:

I am not a sculptor, wrote Pindar in the fifth century B.C., at the beginning of his Fifth Nemean Ode, to fashion statues that stand around doing nothing, each stuck on its self-same base. Rather, he makes sweet song that can board every ship and fly in all directions at once, proclaiming its news: in this case, the victory of a certain Pytheas at the no-holds-barred boxing match called the pancratium at the Nemean Games. Some athletes were indeed honored with statues to commemorate their victories, but such memorials were single and stationary and subject to all the insults of time. Pindar’s poem wings its way unscathed over the centuries, and now is disseminated not only on paper, but electronically, across the Internet, all over the world.

It turns out that poetry and sculpture have a long history of vying for top honors as modes of memorial. I have been thinking of this a lot these past days, with the removal of statues so much in the news, along with the subsequent debate about how and what we commemorate. It is an old argument, in which poetry tends to get the last word. (There are, of course, sculptors who are poets and poets who are sculptors: Michelangelo might have been known primarily as a sonneteer, had he not been such a star in the visual arts. The contemporary poet Meredith Bergman is also a sculptor, currently at work on a statue group of Women’s Rights Pioneers in Central Park, the first such depiction in the park, believe it or not, of a non-fictive woman.)

Take Horace’s Ode 3.30, which begins, I have built a monument more lasting than bronze / and higher than the royal edifice of the pyramids, which neither weathering rain nor wind nor years has been able to destroy. Is it perhaps somewhat tongue in cheek, more lighthearted than its opening would appear? Yet here the poem stands, as fresh as the day it was composed, sometime in the first century B.C., shrugging off the dust of years.

Shakespeare’s sonnets also like to assert the relative stamina of verse:

Not marble, nor the gilded monuments
Of princes, shall outlive this powerful rhyme;
But you shall shine more bright in these contents
Than unswept stone, besmear’d with sluttish time.
When wasteful war shall statues overturn,
And broils root out the work of masonry,
Nor Mars his sword nor war’s quick fire shall burn
The living record of your memory.

Statues only seem permanent. Reputation, however, is preserved not in a stone or brazen image, but in language, which continually revives by being read and spoken through the mouths of the living, phrases that may pass, translated, into tongues that didn’t even exist when they were composed.

A reputation may erode, leaving the monument to it bereft of its anchoring grandeur, in a state of ironic disrepair. Shelley’s Ozymandias (1818) is the locus classicus here:

I met a traveller from an antique land
Who said: Two vast and trunkless legs of stone
Stand in the desert. Near them, on the sand,
Half sunk, a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them and the heart that fed:
And on the pedestal these words appear:
‘My name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!’
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare
The lone and level sands stretch far away.

That the sculptor reads the pharaoh’s passions, and stamps them on the lifeless things, is telling. In the inscription, the statue speaks, in the first person, but his words have come to mean the opposite of his intention. It is noteworthy that even news of this has to be brought to the poet by a traveller. The traveller happens to be the first-century B.C. historian Diodorus Siculus, whose description of the statue and the inscription inspires Shelley and also Horace Smith (see below). So in a sense the traveller is not a person, but a written text, which has journeyed not only from a storied land, but also through time, from antiquity itself.

The poem may have been partly inspired by the British Museum’s acquisition (I’ll leave that vague term for the present) of a fragment of a huge statue of Ramses II (Ozymandias being the Greek for Ramses)—yet another layer of irony, as the statue’s grim visage, depicted as unmoved in its ancient situ against a backdrop of the sands of time, is en route to London on a ship even as Shelley writes.

Not all poems about statues are immortal, or somehow more permanent than the statues they address. Shelley’s contemporary Horace Smith wrote a poem on the same subject (both it and Ozymandias resulted from a sonnet competition between the poets). Smith’s sonnet begins, somewhat unfortunately, In Egypt’s sandy silence, all alone, / Stands a gigantic Leg, and it is remembered today only as a foil to Shelley’s masterpiece.

Resonantly, though, especially for our moment, Smith’s post-volta sestet imagines a future London where 19th-century statues are in a similar state of decay and anonymity. His image of a postapocalyptic London, where nature has returned and people are scarce, has an eerie quarantine quality to it now:

We wonder,—and some Hunter may express
Wonder like ours, when thro’ the wilderness
Where London stood, holding the Wolf in chace,
He meets some fragment huge, and stops to guess
What powerful but unrecorded race
Once dwelt in that annihilated place.

One ponders who that fragment huge would be.

Ozymandias is the main influence on another famous sonnet on a statue—or rather, two statues, one vanished, known only by its descriptions, the other more recently erected, Emma Lazarus’s famed The New Colossus (1883) for the Statue of Liberty:

Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.

“Keep, ancient lands, your storied pomp!” cries she
With silent lips. “Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!”

The brazen giant of Greek fame is the Colossus of Rhodes, one of the seven wonders of the ancient world. Built in 280 BC to commemorate the successful resistance of a siege, it was a bronze statue of the sun god Helios that stood at about the same height as our Statue of Liberty, the largest such statue in the ancient world. It was toppled by an earthquake in 226 B.C. and left in fragments huge. The engineering triumph of the day, designed to last the ages, it stood for a mere 54 years.

The correspondences to Shelley’s poem are many, not least in the title The New Colossus, which harkens back to Shelley’s colossal wreck, but also in the phrasing: his cold command becomes mild eyes command. Other correspondences include beacon-hand and ancient lands, and then there are the silent lips that still speak, in the first person. Her name is not Ozymandias, but Mother of Exiles. Interestingly, she is not a figure from the past, but from the future tense, or perhaps an optimistic hortative mood: Here at our sea-washed sunset gates shall stand. The New World confronts the Old.

Emma Lazarus hailed from a large Sephardic Jewish family and was active in the cause of Jewish refugees fleeing Russia. The current administration is not fond of the welcoming message this poem conveys, and in August 2019 in an interview with NPR, Ken Cuccinelli, acting head of Citizenship and Immigration Services, was asked, Would you also agree that Emma Lazarus’s words etched on the Statue of Liberty, ‘Give me your tired, give me your poor,’ are also a part of the American ethos? They certainly areCuccinelli responded. Give me your tired and your poor—who can stand on their own two feet and who will not become a public charge.

Those clunky lines do not rhyme or scan, and this off-the-cuff and, one hopes, facetious suggestion could never be implemented. A poem, unlike a statue, doesn’t need to stand on its own two feet—it wings its way into the world in all directions at once. In a metaphor that Pindar might have appreciated, it can go viral. It can be lost in the transmission of time, but it cannot be dismantled. As Robert Frost says, The utmost of ambition [of the poet] is to lodge a few poems where they will be hard to get rid of. To be widely anthologized, widely disseminated on the Internet, makes a poem a flame almost impossible to extinguish.

Or as Pindar might say, that ship has sailed.





(A. E. Stallings)

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Saturday, June 20, 2020

A. E. Stallings, Achilles; On Being Thrown from a Horse at 49; at Verge

Sanctuary of Artemis at Brauron
image author: Carole Raddato
(source: wiki)
no copyright infringement intended


A prayer for daughters, for Myrto and Atalanta
τάςτεκόρας, Λιμνᾶτι, κόρᾳκόρα, ὡςἐπιεικές

Day-trip from Athens, on a day
Too fine for anyone to stay

Within the walls—and so we splurge
On time and gas, to river’s verge,

Where columns, reconstructed, stand
On tiptoes on the boggy land:

Cracked capitals—the nests of sparrows,
That, newly fledged, shoot forth like arrows

Into the blue—hold mostly pure
Empyrean entablature;

The stoa sometimes seems to stretch
Both upwards, and below the vetch,

In pools by wispy cirrus troubled
In which their fluted drums are doubled.

No one stands guard, or catalogs
The visitors, but belching frogs,

And from tall reeds we hear the words,
Though untranslatable, of birds.

The girls, our daughters, on the verge
Of growing up, up hillsides surge

In search of—climbing, pinecones, flowers,
Footholds, skinned knees, superpowers?

They’re near the age when other girls
Dedicated severed curls,

A tambourine or headband, ball
And brazen mirror, favorite doll,

And sometimes even jeweled rings,
Leaving behind their childish things

For Artemis, who never crosses
Age’s sill of gains and losses.

This realm of Artemis, this pool,
This temple, is just vestibule:

No mortal stays forever there,
But passes through, as “little bear.”

It is a simile that rubs
Both ways—see how they climb like cubs,

And how, on two feet, nothing wild
So much resembles a girl child!

Here in this sanctuary, here
Dropped in this spring that still springs clear,

Archaeologists have found
Bronze mirrors, toys, and jewelry drowned,

Where now, our muddy-footed daughters
Poke with sticks the tad-poled waters

Here Mneso offers, may you bless,
The votive of this frog-green dress.

The moment that seems, like the spring,
From stillness sprung, is on the wing,

As dragonflies—which are instead
Of jaded green, carnelian red

And hang like ornaments that stopped
Mid-air the instant they were dropped

Into the pool—seem in no hurry,
And yet their beating wings are blurry

With all the work of staying still,
As water weeps and flows downhill.

The two friends want of course to stay
A little longer. Call it play,

This state of being, outside time,
When it is not yet work to climb.

Goddess of girlhood, hear my prayer
For her, and my own little bear:

Lady of wilderness, grant that she
May dwell here long and happily

Before she leaves these hills for good
And crosses into womanhood,

(That busy city, where we go
With fretful list and task in tow),

Leave in her something else, unnamed,
Untrammeled, liminal, untamed.
(source: Georgia Review)






(A. E. Stallings)

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Saturday, May 02, 2020

A. E. Stallings, Daedal

Small bronze sculpture of Daedalus, 3rd century BC
found on Plaošnik, Republic of North Macedonia
photo by Petre Stojkovski
(image source: wiki)
no copyright infringement intended


Read it, then come back and listen to the recording. It is amazing.


To build a labyrinth it takes
A twisted mind, a puzzled art,
A fractal branching of mistakes.

Drag out the shovels and the rakes,
The spirit level, sacred chart.
To build a labyrinth it takes

Shadows, stones, a way that snakes
And ladders to its shaky start;
An average mazing of mistakes,

The kind that everybody makes,
Set random intervals apart.
To build a labyrinth it takes

Dead ends that seem like lucky breaks,
The paths of bats that weave and dart
Through limestone caverns of mistakes.

The shaken Etch A Sketch awakes
A lost child buried in its heart.
To build a labyrinth it takes
Some good intentions, some mistakes.
(source: Poetry, May 2020)





(A. E. Stallings)

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Wednesday, July 15, 2015

A. E. Stallings: Greekdebtcrisishaiku

(source: Corfu Blues)
no copyright infringement intended


Europa, we’re through:
Take back your privative a-
vowals: I, O, U.

*

Why is Hope the one
campaign promise still stuck in
the jar, Pandora?

*

Tragic ironies:
Stock Market’s not on Wall Street,
here it’s Sophocles.


*
Snowfall. Parthenon.
Is it a miracle, or
Hell freezing over?

*

Finance minister:
fashion shoot in Paris Match,
swanky apartment.

*

It’s like the movies,
Only not Zorba the Greek,
Thelma and Louise.

*

To: Lord Byron--Sir
Greek loan approved but held up
Now that you’re dead. Stop.

*

Easter: Anarchists
quit occupying buildings,
crack red eggs, not glass.

*

Alphabet of angst—
Ach! Is all that’s left between
Drama and drachma.

*

Panic, oligarchs,
Democracy, tragedy,
dilemma, chaos.


*

Solon promises
to devalue the coinage:
600 B.C.

*

Grexit—so ugly!
So Latinate! What’s wrong with
Hellenexodus?
(source: Partisan)



(A. E. Stallings)

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Thursday, April 30, 2015

F. S. Kelly, Elegy for Strings In Memoriam Rupert Brooke

Frederick Septimus Kelly
(1881-1916)
photo c. 1903
no copyright infringement intended


I found this elegy on the Facebook page of poet A. E. Stallings. Says she, Kelly (the author of the elegy) was part of the burial party for Brooke on the island of Skyros. He began this elegy en route to Gallipoli. He survived Gallipoli, only to die at the Somme.



(video by Colin)

It is part of a Dutton disc featuring music written during the war by Edward Elgar, Ivor Gurney, Hubert Parry, and Lilian Elkington (Colin)

Kelly’s tone poem Elegy for Strings and Harp In Memoriam Rupert Brooke’ is dated 27 June 1915, when Kelly was himself in hospital in Alexandria. Brooke was buried in a grove on the island late in the evening under moonlight. The burial service was read, and then his closest friends and pallbearers, including Kelly and Denis Browne, stayed behind and covered the grave with stones and pieces of marble. It has been suggested that the music evokes the rustling of the single olive tree which provides shade for Brooke’s grave. The harp part was added a month before Kelly’s own death, and the work was performed at Eton College in 1916, at the Wigmore Hall and at a memorial concert to the composer (Behind the Lines - The Music and Composers of the First World War)


(A. E. Stallings)

(Rupert Brooke)

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Thursday, April 23, 2015

A. E. Stallings: Visiting the Grave of Rupert Brooke

Brooke's grave on the Island of Skyros
(image source: wikimedia)
no copyright infringement intended


Rupert, this was where, I’m sure you knew,
The sea nymph Thetis took Achilles to,
And hid him, with his smooth cheek and gold curls,
Among the royal retinue of girls,
As any mother might, to save her son,
From war and death, by arrow or the gun.
Odysseus, recruiting, in disguise,
Set out for sale a range of merchandise,
Stuffs no princess easily resists—
Fine brocades, and bangles for the wrists,
All manner of adornments, silver, gold,
And set a blade among them, brazen, cold—
A simple trap that might catch any boy.
But only old men made it home from Troy.


Rupert Brooke died on his way to the landing at Gallipoli. As the expeditionary force had orders to depart immediately, he was buried rapidly in an olive grove on the Island of Skyros (wiki)


(A. E. Stallings)

(Rupert Brooke)

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Tuesday, September 17, 2013

A. E. Stallings: Momentary



Sometimes a snake is just a snake: a beautiful, mysterious creation of Nature. Forget the demonic components of the Abrahamic tradition. And it is good to read this poem also in opposition with Emily Dickinson's A Narrow Fellow in the Grass (http://banjo52.blogspot.com/2013/05/when-snake-is-just-snake-emily.html).


I never glimpse her but she goes
Who had been basking in the sun,
Her links of chain mail one by one
Aglint with pewter, bronze and rose.

I never see her lying coiled
Atop the garden step, or under
A dark leaf, unless I blunder
And by some motion she is foiled.

Too late I notice as she passes
Zither of chromatic scale—
I only ever see her tail
Quicksilver into tall grasses.

I know her only by her flowing,
By her glamour disappearing
Into shadow as I’m nearing—
I only recognize her going.


(A. E. Stallings)

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A. E. Stallings


An American poet and translator, currently living in Athens, Greece, Alicia Elsbeth Stallings is considered as belonging to the New Formalism (though her approach is flexible, sometimes migrating towards the grey area between free and blank verse - wiki).




(A Life in Books)

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