This poem stages a passionately blissful meeting between man and woman.
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The poem consists of six breathless six-line dimeter stanzas:. And still in my nostrils The scent of her flesh, And still my wet mouth Sought her afresh; And still one pulse Through the world did thresh. Today this sensational experiment in machismo and masochism seems calculated, theatrical, and especially unpleasant. The three strong poems that begin Love Poems and Others announce that a bold new poet has arrived.
These three poems, originally composed for Jessie Chambers, seem self-consciously Imagistic, and more than a little Japanese.
The poems are all addressed to the tormenting Helen Corke. These period meditations on works of art strike me as two of the weakest—and certainly most pompous—poems in the collection. The young provincial, proving that he knows his way around European art history, seems to be self-consciously poeticizing.
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In the Collected Poems Lawrence situated the poems next to one another. Readers of Love Poems and Others must have been astonished by these poems.
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There was no way to imagine that the sensitive, highly literary author of the first twenty-five poems could write narrative poetry in working-class dialect. Only literary insiders could have known where Lawrence had gotten his command of working-class life and dialect.
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Edward Garnett encouraged him to take this direction. When Garnett first saw this poem in the autumn of , he got it into print almost immediately. In this poem the young Lawrence transposes the almost standard romantic situation of his early poetry and fiction onto working-class life. Tim complains about his frustration:. Ted died young, but he died beloved. The dialect poems, although unfashionable today, are compelling and genuinely impressive.
These poems form a poetic suite, each dramatizing a different schoolmasterly mood. So do they cleave and cling to me, So I lead them up, so do they twine Me up, caress and clothe with free Fine foliage of lives this life of mine […] LP lxi. This line is also the last line of Love Poems and Others , perhaps suggesting promise of things to come.
A Personal Record Jessie Chambers remembered a night when she had gone to visit the young Lawrence for a French lesson. A measure of this insecurity is his practice of trying out different poetic styles, language registers, forms, and voices as he searched for his own voice. Even the dialect poems and the schoolmaster poems are examples of Lawrence adopting different personae allowing for the fact that in the schoolmaster poems he is a poet without a mask. In the first stanza the maid walks innocently but alluringly:.
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He believed that he was still constrained by the conventions of the day even as he was working to move beyond those conventions in search of his own voice. Nerves are on edge, the heart throbs heavily against its bars. The soul is not obscured by forms. Even if it were wrapped in a hundred folds of felt the rays of the soul's light would still shine through.
Beat the drum, Follow the minstrels of the city.
It's a day of renewal when every young man walks boldly on the path of love. Had everyone sought God Instead of crumbs and copper coins T'hey would not be sitting on the edge of the moat in darkness and regret. What kind of gossip-house have you opened in our city? Close your lips and shine on the world like loving sunlight. Shine like the Sun of Tabriz rising in the East. Shine like the star of victory. Shine like the whole universe is yours! Why should not every Sufi begin to dance atom-like Around the Sun of duration that saves from impermanence? What graciousness and what beauty?
If anyone does without that, woe- what err, what suffering! Oh fly , of fly, O my soul-bird, fly to your primordial home! You have escaped from the cage now- your wings are spread in the air. Oh travel from brackish water now to the fountain of life!
Return from the place of the sandals now to the high seat of souls! Tsipi Keller has had the patience and intelligence to select a stimulating and powerful group of poems, with accurate and very readable translations. The translations are sensitive, wise, graceful, and insightful; the selection is rich and inviting. What a brilliant achievement!
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Her translations convey the skepticism, wit, and energy of these poets who speak of loves and breakups, query their places in Jewish history, contemplate metaphysical questions, and paint pictures of everyday life in Israel. Tsipi Keller was born in Prague, raised in Israel, and has been living in the United States since Her short fiction and her poetry translations have appeared in many journals and anthologies, and her novels include Jackpot ; Retelling ; and The Prophet of Tenth Street.
She lives in West Palm Beach, Florida. You Have 0 Item s In Cart.