Stephen Burt: Why people need poetry

293,646 views ใƒป 2014-06-04

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I read poetry all the time
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and write about it frequently
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and take poems apart
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to see how they work
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because I'm a word person.
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I understand the world best, most fully,
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in words rather than, say, pictures or numbers,
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and when I have a new experience or a new feeling,
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I'm a little frustrated
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until I can try to put it into words.
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I think I've always been that way.
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I devoured science fiction as a child. I still do.
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And I found poems by Andrew Marvell
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and Matthew Arnold and Emily Dickinson
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and William Butler Yeats
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because they were quoted in science fiction,
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and I loved their sounds
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and I went on to read about ottava rima
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and medial caesuras and enjambment
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and all that other technical stuff
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that you care about if you already care about poems,
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because poems already made me happier
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and sadder and more alive.
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And I became a poetry critic
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because I wanted to know how and why.
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Now, poetry isn't one thing that serves one purpose
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any more than music or computer programming
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serve one purpose.
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The greek word poem, it just means "a made thing,"
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and poetry is a set of techniques,
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ways of making patterns
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that put emotions into words.
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The more techniques you know,
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the more things you can make,
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and the more patterns you can recognize
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in things you might already like or love.
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That said, poetry does seem to be
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especially good at certain things.
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For example, we are all going to die.
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Poetry can help us live with that.
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Poems are made of words, nothing but words.
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The particulars in poems are like
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the particularities, the personalities,
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that distinguish people from one another.
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Poems are easy to share, easy to pass on,
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and when you read a poem, you can imagine
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someone's speaking to you or for you,
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maybe even someone far away
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or someone made up or someone deceased.
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That's why we can go to poems when we want to
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remember something or someone,
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to celebrate or to look beyond death
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or to say goodbye,
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and that's one reason poems can seem important,
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even to people who aren't me,
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who don't so much live in a world of words.
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The poet Frank O'Hara said,
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"If you don't need poetry, bully for you,"
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but he also said when he didn't want to be alive anymore,
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the thought that he wouldn't write any more poems
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had stopped him.
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Poetry helps me want to be alive,
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and I want to show you why by showing you how,
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how a couple of poems react to the fact that
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we're alive in one place at one time in one culture,
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and in another we won't be alive at all.
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So here's one of the first poems I memorized.
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It could address a child or an adult.
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"From far, from eve and morning
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From yon twelve-winded sky,
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The stuff of life to knit me
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Blew hither; here am I.
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Now โ€” for a breath I tarry
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Nor yet disperse apart โ€”
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Take my hand quick and tell me,
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What have you in your heart.
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Speak now, and I will answer;
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How shall I help you, say;
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Ere to the wind's twelve quarters
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I take my endless way."
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[A. E. Housman]
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Now, this poem has appealed
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to science fiction writers.
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It's furnished at least three science fiction titles,
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I think because it says poems can brings us news
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from the future or the past
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or across the world,
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because their patterns can seem to tell you
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what's in somebody's heart.
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It says poems can bring people together temporarily,
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which I think is true,
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and it sticks in my head not just because it rhymes
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but for how it rhymes,
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cleanly and simply on the two and four,
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"say" and "way,"
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with anticipatory hints on the one and three,
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"answer" and "quarters,"
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as if the poem itself were coming together.
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It plays up the fact that we die
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by exaggerating the speed of our lives.
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A few years on Earth become
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one speech, one breath.
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It's a poem about loneliness --
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the "I" in the poem feels no connection will last โ€”
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and it might look like a plea for help
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'til you get to the word "help,"
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where this "I" facing you, taking your hand,
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is more like a teacher or a genie,
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or at least that's what he wants to believe.
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It would not be the first time a poet had
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written the poem that he wanted to hear.
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Now, this next poem really changed
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what I liked and what I read
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and what I felt I could read as an adult.
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It might not make any sense to you
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if you haven't seen it before.
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"The Garden"
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"Oleander: coral
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from lipstick ads in the 50's.
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Fruit of the tree of such knowledge
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To smack (thin air)
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meaning kiss or hit.
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It appears
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in the guise of outworn usages
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because we are bad?
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Big masculine threat,
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insinuating and slangy."
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[Rae Armantrout]
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Now, I found this poem in an anthology
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of almost equally confusing poems in 1989.
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I just heard that there were these scandalous writers
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called Language poets who didn't make any sense,
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and I wanted to go and see for myself what they were like,
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and some of them didn't do much for me,
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but this writer, Rae Armantrout,
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did an awful lot, and I kept reading her
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until I felt I knew what was going on,
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as I do with this poem.
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It's about the Garden of Eden and the Fall
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and the Biblical story of the Fall,
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in which sex as we know it
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and death and guilt
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come into the world at the same time.
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It's also about how appearances deceive,
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how our culture can sweep us along
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into doing and saying things we didn't intend
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or don't like, and Armantrout's style
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is trying to help us stop or slow down.
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"Smack" can mean "kiss" as in air kisses,
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as in lip-smacking,
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but that can lead to "smack" as in "hit"
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as in domestic abuse,
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because sexual attraction can seem threatening.
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The red that means fertility
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can also mean poison.
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Oleander is poisonous.
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And outworn usages like "smack" for "kiss"
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or "hit" can help us see
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how our unacknowledged assumptions
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can make us believe we are bad,
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either because sex is sinful
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or because we tolerate so much sexism.
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We let guys tell women what to do.
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The poem reacts to old lipstick ads,
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and its edginess about statement,
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its reversals and halts, have everything to do
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with resisting the language of ads
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that want to tell us so easily what to want,
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what to do, what to think.
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That resistance is a lot of the point of the poem,
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which shows me, Armantrout shows me
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what it's like to hear grave threats
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and mortal dishonesty in the language
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of everyday life, and once she's done that,
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I think she can show other people, women and men,
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what it's like to feel that way
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and say to other people, women and men
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who feel so alienated or so threatened
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that they're not alone.
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Now, how do I know that I'm right
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about this somewhat confusing poem?
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Well in this case, I emailed the poet a draft of my talk
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and she said, "Yeah, yeah, that's about it."
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Yeah. (Laughter) (Applause)
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But usually, you can't know. You never know.
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You can't be sure, and that's okay.
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All we can do we is listen to poems
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and look at poems and guess
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and see if they can bring us what we need,
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and if you're wrong about some part of a poem,
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nothing bad will happen.
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Now, this next poem is older than Armantrout's,
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but a little younger than A. E. Housman's.
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"The Brave Man"
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"The sun, that brave man,
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Comes through boughs that lie in wait,
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That brave man.
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Green and gloomy eyes
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In dark forms of the grass
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Run away.
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The good stars,
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Pale helms and spiky spurs,
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Run away.
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Fears of my bed,
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Fears of life and fears of death,
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Run away.
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That brave man comes up
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From below and walks without meditation,
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That brave man."
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[Wallace Stevens]
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Now, the sun in this poem,
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in Wallace Stevens' poem, seems so grave
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because the person in the poem is so afraid.
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The sun comes up in the morning through branches,
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dispels the dew, the eyes, on the grass,
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and defeats stars envisioned as armies.
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"Brave" has its old sense of showy
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as well as its modern sense, courage.
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This sun is not afraid to show his face.
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But the person in the poem is afraid.
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He might have been up all night.
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That is the reveal Stevens saves for that fourth stanza,
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where run away has become a refrain.
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This person might want to run away too,
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but fortified by the sun's example,
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he might just rise.
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Stevens saves that sonically odd word "meditation"
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for the end.
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Unlike the sun, human beings think.
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We meditate on past and future, life and death,
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above and below.
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And it can make us afraid.
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Poems, the patterns in poems,
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show us not just what somebody thought
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or what someone did or what happened
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but what it was like to be a person like that,
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to be so anxious, so lonely, so inquisitive,
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so goofy, so preposterous, so brave.
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That's why poems can seem at once so durable,
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so personal, and so ephemeral,
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like something inside and outside you at once.
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The Scottish poet Denise Riley compares poetry
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to a needle, a sliver of outside I cradle inside,
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and the American poet Terrance Hayes
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wrote six poems called "Wind in a Box."
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One of them asks, "Tell me,
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what am I going to do when I'm dead?"
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And the answer is that he'll stay with us
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or won't stay with us inside us as wind,
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as air, as words.
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It is easier than ever to find poems
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that might stay inside you, that might stay with you,
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from long, long ago, or from right this minute,
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from far away or from right close to where you live,
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almost no matter where you live.
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Poems can help you say, help you show how you're feeling,
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but they can also introduce you
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to feelings, ways of being in the world,
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people, very much unlike you,
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maybe even people from long, long ago.
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Some poems even tell you
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that that is what they can do.
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That's what John Keats is doing
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in his most mysterious, perhaps, poem.
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It's mysterious because it's probably unfinished,
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he probably left it unfinished,
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and because it might be meant
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for a character in a play,
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but it might just be Keats' thinking
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about what his own writing,
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his handwriting, could do,
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and in it I hear, at least I hear, mortality,
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and I hear the power of older poetic techniques,
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and I have the feeling, you might have the feeling,
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of meeting even for an instant, almost becoming,
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someone else from long ago,
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someone quite memorable.
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"This living hand, now warm and capable
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Of earnest grasping, would, if it were cold
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And in the icy silence of the tomb,
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So haunt thy days and chill thy dreaming nights
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That thou would wish thine own heart dry of blood
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So in my veins red life might stream again,
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And thou be conscience-calmโ€™d -- see here it is --
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I hold it towards you."
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Thanks.
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(Applause)
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