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Showing posts with label Porter. Show all posts
Showing posts with label Porter. Show all posts

Sunday, February 19, 2012

A List of Praises


(Anne in a Striped Dress, 1967, a painting of
today’s poet by her husband, Fairfield Porter,
1907-1975, American Representational painter)

Anne Porter (1911-2011) was a late-bloomer. She began writing her poetry early on in life but it wasn’t until she was 83 years old that her first collection of poems was published, 94 when one of her poems was included in The Oxford Book of American Poetry, and 95 when her second volume of poems came out.

In an interview, she explained why she continued to write as she got on in years. In old age, she said, “you can’t sing anymore, you can’t dance anymore, you can’t drive anymore — but you can still write.”


A LIST OF PRAISES

Give praise with psalms that tell the trees to sing,
Give praise with Gospel choirs in storefront churches,
Mad with the joy of the Sabbath,
Give praise with the babble of infants, who wake with the sun,
Give praise with children chanting their skip-rope rhymes,
A poetry not in books, a vagrant mischievous poetry
Living wild on the Streets through generations of children.

Give praise with the sound of the milk-train far away
With its mutter of wheels and long-drawn-out sweet whistle
As it speeds through the fields of sleep at three in the morning,
Give praise with the immense and peaceful sigh
Of the wind in the pinewoods,
At night give praise with starry silences.

Give praise with the skirling of seagulls
And the rattle and flap of sails
And gongs of buoys rocked by the sea-swell
Out in the shipping-lanes beyond the harbor.
Give praise with the humpback whales,
Huge in the ocean they sing to one another.

Give praise with the rasp and sizzle of crickets, katydids and cicadas,
Give praise with hum of bees,
Give praise with the little peepers who live near water.
When they fill the marsh with a shimmer of bell-like cries
We know that the winter is over.

Give praise with mockingbirds, day’s nightingales.
Hour by hour they sing in the crepe myrtle
And glossy tulip trees
On quiet side streets in southern towns.

Give praise with the rippling speech
Of the eider-duck and her ducklings
As they paddle their way downstream
In the red-gold morning
On Restiguche¹, their cold river,
Salmon river,
Wilderness river.

Give praise with the whitethroat sparrow.
Far, far from the cities,
Far even from the towns,
With piercing innocence
He sings in the spruce-tree tops,
Always four notes
And four notes only.

Give praise with water,
With storms of rain and thunder
And the small rains that sparkle as they dry,
And the faint floating ocean roar
That fills the seaside villages,
And the clear brooks that travel down the mountains

And with this poem, a leaf on the vast flood,
And with the angels in that other country.

¹Restiguche – a river that flows through parts of New Brunswick and Quebec

Tuesday, November 22, 2011

An Altogether Different Language


(Landscape with Stars, watercolor by Henri Edmond
Cross, 1856-1910, French artist)

“For love all love of other sights controls, / And makes one little room an everywhere.” ~ John Donne (1572-1631), the greatest of the English Metaphysical poets

AN ALTOGETHER DIFFERENT LANGUAGE

There was an old church in Umbria, Little Portion¹,
Already old eight hundred years ago.
It was abandoned and in disrepair
But it was called St. Mary of the Angels
For it was known to be the haunt of angels,
Often at night the country people
Could hear them singing there.

What was it like, to listen to the angels,
To hear those mountain-fresh, those simple voices
Poured out on the bare stones of Little Portion
In hymns of joy?
No one has told us.
Perhaps it needs another language
That we still have to learn,
An altogether different language.

~ Anne Porter, born 1911, American poet

¹ Little Portion or "small portion of land," Porziuncola; the chapel is one of several small chapels now located here inside the Basilica of St. Mary of the Angels in Assisi.

Monday, July 18, 2011

Friendship — If You’re Ever in a Jam


(Two Balls by Jasper Johns, born 1930, American
painter)

They're not just fair-weather friends.

FRIENDSHIP

He: If you’re ever in a jam, here I am.
She: If you ever need a pal, I’m your gal.
He: If you ever feel so happy, you land in jail,
I’m your bail.

Both: It’s friendship, friendship,
Just a perfect blendship.
When other friendships have been forgot,
Ours will be still be hot.

She: If you ever lose your way, come to May.
He: If you ever make a flop, call for Pop.
She: If you ever take a boat and get lost at sea,
Write to me.

Both: It’s friendship, friendship,
Just a perfect blendship.
When other friendships have been forgit,
Ours will still be it.

He: If you’re ever down a well, ring my bell.
She: If you ever catch on fire, send a wire.
He: If you ever lose your teeth, and you’re out to dine,
Borrow mine.

Both: It’s friendship, friendship,
Just a perfect blendship.
When other friendships have ceased to jell,
Ours will still be swell.

She: If they ever black your eyes, put me wise.
He: If they ever cook your goose, turn me loose.
She: If they ever put a bullet through your brain,
I’ll complain.

Both: It’s friendship, friendship,
Just a perfect blendship.
When other friendships go up in smoke,
Ours will still be oke.

He: If you ever lose your mind, I’ll be kind.
She: And if you ever lose your shirt, I’ll be hurt.
He: If you’re ever in a mill and get sawed in half,
I won’t laugh.

Both: It’s friendship, friendship,
Just a perfect blendship.
When other friendships have been forgate,
Ours will still be great.

~ Cole Porter (1891-1964), American composer and lyricist, from the musical Du Barry Was a Lady

Wednesday, March 23, 2011

Paris in the Springtime


(Lovers at the Top of the July Column, Paris, 1957, by
Willy Ronis, 1910-2009, French photographer)

It is always the best time to be in Paris — you will love it the first or last time you see the city; in April, May, and June and any other month of the year; and in the seasons of winter, springtime, summer, and fall.

PARIS IN THE SPRINGTIME

Ev’ry time I look down
On this timeless town,
Whether blue or gray be her skies,
Whether loud be her cheers
Or whether soft be her tears,
More and more do I realize

I love Paris in the spring time,
I love Paris in the fall,
I love Paris in the winter when it drizzles,
I love Paris in the summer when it sizzles.
I love Paris ev’ry moment,
Ev’ry moment of the year.
I love Paris,
Why, oh, why do I love Paris?
Because my love is near.

~ Cole Porter (1891-1964), American composer and lyricist, from the musical Can Can, 1953

To listen to the radiant Miss Ella Fitzgerald’s version of this ballad, click on the link (you may have to cut and paste):

http://www.youtube.com/watch?v=zB4qvSWrtz0

Thursday, January 13, 2011

Winter Twilight


(Vertical by Ben Nicholson, 1894-1982, American painter)

Winter has its own illusions.

WINTER TWILIGHT

On a clear winter’s evening
The crescent moon

And the round squirrels’ nest
In the bare oak

Are equal planets.

~ Anne Porter, born 1911, American poet

Sunday, November 7, 2010

It’s Always Darkest before the Dawn


(Hayley Mills in the title role of Pollyanna, the 1960
Disney film)

What can you do when misfortune comes your way?

You can follow the example of Pollyanna, the orphan in the 1912 classic children’s story by Eleanor Porter (as explained in the abridged passage below from the novel).


“You don’t seem ter see any trouble bein’ glad about everythin’,” retorted Nancy, choking a little over her remembrance of Pollyanna’s brave attempts to like the bare little attic room.

Pollyanna laughed softly. “Well, that’s the game, you know, anyway.”

“The — game?

“Yes — the ‘just being glad’ game. Father told it to me, and it’s lovely. We’ve played it always, ever since I was a little, little girl.” In the gathering twilight her face looked thin and wistful. “Why, we began it on some crutches that came in a missionary barrel.”

Crutches!

“Yes. You see I’d wanted a doll, and Father had written them so; but when the barrel came the lady wrote that there hadn’t any dolls come in, but the little crutches had. So she sent ’em along as they might come in handy for some child, some time. And that’s when we began it. The game was to just find something about everything to be glad about — no matter what ’twas. And we began right then — on the crutches.

“I couldn’t see it, at first. Father had to tell it to me. Just be glad because you don’t — need — ’em!

Or you can just keep in mind the old saying that it’s always darkest before the dawn.

IT’S ALWAYS DARKEST BEFORE THE DAWN

But how dark
is darkest?
Does it get
jet — or tar —
black; does it
glint and increase
in hardness
or turn viscous?
Are there stages
of darkness
and chips
to match against
its increments,
holding them
up to our blindness,
estimating when
we’ll have the
night behind us?

~ Kay Ryan, born 1945, American poet

Saturday, June 12, 2010

What Is This Thing Called Love?


(The Birthday by Marc Chagall, 1887-1985, Russian-
French artist)

“What is this thing called love?” asked Cole Porter. “Just who can solve its mystery?”

We can always look to Shakespeare.


SONNET CXVI

Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O no! it is an ever-fixéd mark
That looks on tempests, and is never shaken;
It is the star to every wandering bark,
Whose worth’s unknown, although his height be taken.
Love’s not Time’s fool, though rosy lips and cheeks
Within his bending sickle’s compass come;
Love alters not with his brief hours and weeks.
But bears it out ev’n to the edge of doom: ─
If this be error, and upon me proved,
I never writ, nor no man ever loved.

Note in this sonnet the echoes of sentiments found in one of the most beautiful passages in the New Testament, Paul’s first letter to the Christians in Corinth, Greece, around the middle of the first century A.D.

If I speak in the tongues of men and of angels, but have not love, I am a noisy gong or a clanging cymbal.

And if I have a prophetic power, and understand all mysteries and all knowledge, and if I have all faith, so as to remove mountains, but have not love, I am nothing. If I give away all I have, and if I deliver my body to be burned, but have not love, I gain nothing.

Love is patient and kind; love is not jealous or boastful; it is not arrogant or rude. Love does not insist on its own way; it is not irritable or resentful; it does not rejoice at wrong, but rejoices in the right. Love bears all things, believes all things, hopes all things, endures all things.

Love never ends; as for prophecies, they will pass away; as for tongues, they will cease; as for knowledge, it will pass away. For our knowledge is imperfect and our prophecy is imperfect; but when the perfect comes, the imperfect will pass away. When I was a child, I spoke like a child, I thought like a child, I reasoned like a child; when I became a man, I gave up childish ways.

For now we see in a mirror dimly, but then face to face. Now I know in part; then I shall understand fully, even as I have been fully understood. So faith, hope, love abide, these three; but the greatest of these is love.

Tuesday, June 8, 2010

You’re the Top!

How many metaphors can you squeeze into a poem or a song? If you’re Cole Porter, a new one every line. In this song, the witty, urbane, suave, sophisticated lyricist compares his beloved to cellophane, to a turkey dinner, to the nose on the great Durante, among many other things.

Porter’s snappy pace makes it work. You’re the top! he begins. Each item he then adds to his collection becomes a metaphor for the best. No explanation is needed. No justification is provided.

The tempo, the rhythm, the rhyme, and the sheer chutzpah turn this list into a romantic lyric.

The enchanting Miss Ella makes music of all this nonsense.



(A note: “a Berlin ballad” refers to Irving Berlin, not to Berlin
during the Weimar period, as depicted in this video by the poster of The Threepenny Opera by Bertolt Brecht and Kurt Weill)

YOU’RE THE TOP!

At words poetic, I’m so pathetic
That I always have found it best,
Instead of getting ’em off my chest,
To let ’em rest unexpressed.
I hate parading my serenading
As I’ll probably miss a bar,
But if this ditty is not so pretty
At least it’ll tell you
How great you are.

You’re the top!
You’re the Colosseum.
You’re the top!
You’re the Louvre Museum.
You’re the melody from a symphony by Strauss,
You’re a Bendel bonnet,
A Shakespeare sonnet,
You’re Mickey Mouse.
You’re the Nile,
You’re the Tower of Pisa,
You’re the smile of the Mona Lisa.
I’m a worthless check, a total wreck, a flop,
But if, baby, I’m the bottom,
You’re the top!

You’re the top!
You’re Mahatma Gandhi.
You’re the top!
You’re Napoleon Brandy.
You’re the purple light
Of a summer night in Spain,
You’re the National Gallery,
You’re Garbo's salary,
You’re cellophane.
You’re sublime,
You’re a turkey dinner,
You’re the time of the Derby winner.
I’m a toy balloon that’s fated soon to pop,
But if, baby, I’m the bottom,
You’re the top!

You’re the top!
You’re a Waldorf salad.
You’re the top!
You’re a Berlin ballad.
You’re the nimble tread
Of the feet of Fred Astaire,
You’re an O’Neill drama,
You’re Whistler’s mama,
You’re Camembert.
You’re a rose,
You’re Inferno’s Dante,
You’re the nose
On the great Durante.
I’m a lazy lout who is just about to stop,
But if, baby, I’m the bottom,
You’re the top!

~ Cole Porter (1891-1964), American composer and lyricist