Wednesday, November 28, 2012

Spleen in French and Translation


Spleen
Quand le ciel bas et lourd pèse comme un couvercle
Sur l'esprit gémissant en proie aux longs ennuis,
Et que de l'horizon embrassant tout le cercle
II nous verse un jour noir plus triste que les nuits;
Quand la terre est changée en un cachot humide,
Où l'Espérance, comme une chauve-souris,
S'en va battant les murs de son aile timide
Et se cognant la tête à des plafonds pourris;
Quand la pluie étalant ses immenses traînées
D'une vaste prison imite les barreaux,
Et qu'un peuple muet d'infâmes araignées
Vient tendre ses filets au fond de nos cerveaux,
Des cloches tout à coup sautent avec furie
Et lancent vers le ciel un affreux hurlement,
Ainsi que des esprits errants et sans patrie
Qui se mettent à geindre opiniâtrement.
— Et de longs corbillards, sans tambours ni musique,
Défilent lentement dans mon âme; l'Espoir,
Vaincu, pleure, et l'Angoisse atroce, despotique,
Sur mon crâne incliné plante son drapeau noir.
— Charles Baudelaire

Spleen
When the cold heavy sky weighs like a lid
On spirits whom eternal boredom grips,
And the wide ring of the horizon's hid
In daytime darker than the night's eclipse:
When the world seems a dungeon, damp and small,
Where hope flies like a bat, in circles reeling,
Beating his timid wings against the wall
And dashing out his brains against the ceiling:
When trawling rains have made their steel-grey fibres
Look like the grilles of some tremendous jail,
And a whole nation of disgusting spiders
Over our brains their dusty cobwebs trail:
Suddenly bells are fiercely clanged about
And hurl a fearsome howl into the sky
Like spirits from their country hunted out
Who've nothing else to do but shriek and cry — 
Then long processions without fifes or drums
Wind slowly through my soul. Hope, weeping, bows
To conquest. And atrocious Anguish comes
To plant his black flag on my drooping brows.
— Roy Campbell, Poems of Baudelaire (New York: Pantheon Books, 1952)

Dungeon


A Hand-Mirror



HOLD it up sternly! See this it sends back! (Who is it? Is it you?)
Outside fair costume--within ashes and filth,
No more a flashing eye--no more a sonorous voice or springy step;
Now some slave's eye, voice, hands, step,
A drunkard's breath, unwholesome eater's face, venerealee's flesh,
Lungs rotting away piecemeal, stomach sour and cankerous,
Joints rheumatic, bowels clogged with abomination,
Blood circulating dark and poisonous streams,
Words babble, hearing and touch callous,
No brain, no heart left--no magnetism of sex; 10
Such, from one look in this looking-glass ere you go hence,
Such a result so soon--and from such a beginning! 

Eminem, a Poetic Genius



"Lose Yourself"

Look, if you had one shot, one opportunity
To seize everything you ever wanted in one moment
Would you capture it or just let it slip?
Yo

His palms are sweaty, knees weak, arms are heavy
There's vomit on his sweater already, mom's spaghetti
He's nervous, but on the surface he looks calm and ready to drop bombs,
But he keeps on forgetting what he wrote down,
The whole crowd goes so loud
He opens his mouth, but the words won't come out
He's choking how, everybody's joking now
The clock's run out, time's up over, bloah!
Snap back to reality, Oh there goes gravity
Oh, there goes Rabbit, he choked
He's so mad, but he won't give up that
Easy, no
He won't have it , he knows his whole back's to these ropes
It don't matter, he's dope
He knows that, but he's broke
He's so stagnant, he knows
When he goes back to his mobile home, that's when it's
Back to the lab again, yo
This whole rhapsody
He better go capture this moment and hope it don't pass him

[Hook:]
You better lose yourself in the music, the moment
You own it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime yo
(You better)

The soul's escaping, through this hole that is gaping
This world is mine for the taking
Make me king, as we move toward a new world order
A normal life is boring, but superstardom's close to post mortem
It only grows harder, only grows hotter
He blows us all over these hoes is all on him
Coast to coast shows, he's known as the globetrotter
Lonely roads, God only knows
He's grown farther from home, he's no father
He goes home and barely knows his own daughter
But hold your nose 'cause here goes the cold water
His hoes don't want him no more, he's cold product
They moved on to the next schmoe who flows
He nose dove and sold nada
So the soap opera is told and unfolds
I suppose it's old partner but the beat goes on
Da da dum da dum da da

[Hook]

No more games, I'ma change what you call rage
Tear this motherfucking roof off like 2 dogs caged
I was playing in the beginning, the mood all changed
I've been chewed up and spit out and booed off stage
But I kept rhyming and stepped right into the next cypher
Best believe somebody's paying the pied piper
All the pain inside amplified by the fact
That I can't get by with my 9 to 5
And I can't provide the right type of life for my family
Cause man, these goddamn food stamps don't buy diapers
And it's no movie, there's no Mekhi Phifer, this is my life
And these times are so hard, and it's getting even harder
Trying to feed and water my seed, plus
Teeter totter caught up between being a father and a prima donna
Baby mama drama's screaming on and
Too much for me to wanna
Stay in one spot, another day of monotony
Has gotten me to the point, I'm like a snail
I've got to formulate a plot or I end up in jail or shot
Success is my only motherfucking option, failure's not
Mom, I love you, but this trailer's got to go
I cannot grow old in Salem's lot
So here I go it's my shot.
Feet fail me not, this may be the only opportunity that I got

[Hook]

You can do anything you set your mind to, man

God the Artist



Angela Morgan

God, when you thought of a pine tree,
How did you think of a star?
How did you dream of the Milky Way
To guide us from afar.
How did you think of a clean brown pool
Where flecks of shadows are?

God, when you thought of a cobweb,
How did you think of dew?
How did you know a spider's house
Had shingles bright and new?
How did you know the human folk
Would love them like they do?

God, when you patterned a bird song,
Flung on a silver string,
How did you know the ecstasy
That crystal call would bring?
How did you think of a bubbling throat
And a darling speckled wing?

God, when you chiseled a raindrop,
How did you think of a stem,
Bearing a lovely satin leaf
To hold the tiny gem?
How did you know a million drops
Would deck the morning's hem?

Why did you mate the moonlit night
With the honeysuckle vines?
How did you know Madeira bloom
Distilled ecstatic wines?
How did you weave the velvet disk
Where tangled perfumes are?
God, when you thought of a pine tree,
How did you think of a star?


Source: God the Artist by Angela Morgan, Famous Nature Poems http://www.familyfriendpoems.com/famous/poem/god-the-artist-by-angela-morgan#ixzz2DXEswLm9 
www.FamilyFriendPoems.com 


I love poetry about nature.  It just fits.  Nature is a beautiful treat for the eyes, and the descriptive language of poetry is an ideal medium for sharing what the poet's eyes see with the reader's mind.  This little activity helps children to make sense of nature poems.  William Carlos Williams has a book called River of Words that this activity was intended for.  However, it can be revised for any poem about nature or objects!  Have students create a pine tree and attach descriptions or questions to it from the poem.  OR have students create their own descriptions and compare or contrast!

http://madebyjoel.com/2011/07/poetry-river-craft.html


J Alfred Prufrock


S’io credesse che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma perciocche giammai di questo fondo
Non torno vivo alcun, s’i’odo il vero,
Senza tema d’infamia ti rispondo.
 
LET us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats        5
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question….        10
Oh, do not ask, “What is it?”
Let us go and make our visit.
 
In the room the women come and go
Talking of Michelangelo.
 
The yellow fog that rubs its back upon the window-panes,        15
The yellow smoke that rubs its muzzle on the window-panes
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,        20
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.
 
And indeed there will be time
For the yellow smoke that slides along the street,
Rubbing its back upon the window panes;        25
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;        30
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.
 
In the room the women come and go        35
Talking of Michelangelo.
 
And indeed there will be time
To wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair,
With a bald spot in the middle of my hair—        40
(They will say: “How his hair is growing thin!”)
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin—
(They will say: “But how his arms and legs are thin!”)
Do I dare        45
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.
 
For I have known them all already, known them all:
Have known the evenings, mornings, afternoons,        50
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
  So how should I presume?
 
And I have known the eyes already, known them all—        55
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
To spit out all the butt-ends of my days and ways?        60
  And how should I presume?
 
And I have known the arms already, known them all—
Arms that are braceleted and white and bare
(But in the lamplight, downed with light brown hair!)
Is it perfume from a dress        65
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
  And should I then presume?
  And how should I begin?
.      .      .      .      .      .      .      .
Shall I say, I have gone at dusk through narrow streets        70
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows?…
 
I should have been a pair of ragged claws
Scuttling across the floors of silent seas.
.      .      .      .      .      .      .      .
And the afternoon, the evening, sleeps so peacefully!        75
Smoothed by long fingers,
Asleep … tired … or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis?        80
But though I have wept and fasted, wept and prayed,
Though I have seen my head (grown slightly bald) brought in upon a platter,
I am no prophet—and here’s no great matter;
I have seen the moment of my greatness flicker,
And I have seen the eternal Footman hold my coat, and snicker,        85
And in short, I was afraid.
 
And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,        90
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it toward some overwhelming question,
To say: “I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all”—        95
If one, settling a pillow by her head,
  Should say: “That is not what I meant at all;
  That is not it, at all.”
 
And would it have been worth it, after all,
Would it have been worth while,        100
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along the floor—
And this, and so much more?—
It is impossible to say just what I mean!
But as if a magic lantern threw the nerves in patterns on a screen:        105
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
  “That is not it at all,
  That is not what I meant, at all.”
.      .      .      .      .      .      .      .
        110
No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,        115
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;
At times, indeed, almost ridiculous—
Almost, at times, the Fool.
 
I grow old … I grow old …        120
I shall wear the bottoms of my trousers rolled.
 
Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.
 
I do not think that they will sing to me.        125
 
I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.
 
We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown        130
Till human voices wake us, and we drown.

Look at the music video of the song 525,600 Minutes from RENT. \
How is life measured in the song?
How is this similar to the way J Alfred Prufrock is measuring his life?
 

ee cummings


i shall imagine life

is not worth dying,if
(and when)roses complain
their beauties are in vain

but though mankind persuades
itself that every weed's
a rose,roses(you feel
certain)will only smile


poetry
I am including this picture because it is so easy to look at ee cummings' poetry and say "He is saying more here" or "This symbolizes this" and it can be intimidating.  His style conveys that he must be talking about something else than what is apparent because not much IS apparent!  I like his playfulness with words, and I want to empower my students by challenging them to read him.  He has a lot to offer and should not be feared away from!

Before the Birth of One of Her Children

All things within this fading world hath end,
Adversity doth still our joys attend;
No ties so strong, no friends so dear and sweet,
But with death's parting blow are sure to meet.
The sentence past is most irrevocable,
A common thing, yet oh, inevitable.
How soon, my Dear, death may my steps attend,
How soon't may be thy lot to lose thy friend,
We both are ignorant, yet love bids me
These farewell lines to recommend to thee,
That when the knot's untied that made us one,
I may seem thine, who in effect am none.
And if I see not half my days that's due,
What nature would, God grant to yours and you;
The many faults that well you know I have
Let be interred in my oblivious grave;
If any worth or virtue were in me,
Let that live freshly in thy memory
And when thou feel'st no grief, as I no harmes,
Yet love thy dead, who long lay in thine arms,
And when thy loss shall be repaid with gains
Look to my little babes, my dear remains.
And if thou love thyself, or loved'st me,
These O protect from stepdame's injury.
And if chance to thine eyes shall bring this verse,
With some sad sighs honor my absent hearse;
And kiss this paper for thy dear love's sake, 
Who with salt tears this last farewell did take.

by Anne Bradstreet

Here is a unit plan about women in poetry that applies to Anne Bradstreet.
http://www.poets.org/viewmedia.php/prmMID/17110


Unit Overview
"Women in Poetry," a unit created by New York City public school teacher Carolyn Kohli, introduces students to a broad range of women's voices in poetry. Students develop a poetic and technological vocabulary simultaneously through a series of creative and critical writing exercises and Internet research and citation. "Women in Poetry" primarily explores contemporary poetry with themes as diverse as "Entering the Darkness Out of Childhood," "Voices of the Mothers," "The Body Electric," and "Ars Poetica". Each thematic set of lessons requires students to practice basic skills in Microsoft Word and on the Internet, responding to each poem grouping with information obtained in web research and their own creative and critical responses.  

By the end of this unit students will be able to:
  • Describe the traditional roles of women/received cultural stereotypes and find them expressed in poetry by women.
  • Describe the ways women poets belie stereotypes in their poetry and voice.
  • Recognize and describe voice and tone in a variety of poems by women.
  • Characterize poetry written by women as having a distinct point of view, but as concerning itself with the breadth of human experience.
  • Develop a vocabulary and ideas for writing and talking about poetry written by women.
  • Do a close reading of two poems they have not read with the teacher and write about their understanding of that poem in a brief, lucid essay.
  • Write one brief essay (300-500 words) arguing for or against a reading (Elizabeth Bishop's "In the Waiting Room").
  • Write one brief essay (300-500 words) comparing two poets (Emily Dickinson and Gwendolyn Brooks).
  • Write two personal responses (250-400 words), one on our visiting poet, one on two student poems read during workshop.
  • Discuss several key elements of poetry, including voice, the speaker as persona created by the poet, autobiography in poetry, and several poetic techniques (line length, enjambment, anaphora, sound devices, metaphor).
  • Read criticism through links at The Academy of American Poets website.
  • View and discuss a videoclip of a high school student reciting Emily Dickinson's "I'm Nobody! Who are You?" as an expression of the importance of poetry in general and the impact of Dickinson in particular over 100 years after her death.
  • Write three poems modeled after or inspired by several read in class.
  • Read one original poem aloud for responses in a workshop setting.
  • Include one original poem on the web page.
  • Write three very brief essays for the web page.
  • Learn and practice techniques for creating a web page, including copying and pasting photographs and art, creating hyperlinks, researching poets' lives and works on the Internet.
  • Create a web page as a final project.


I think this unit plan touches on important questions in women's poetry.  Why do they write?  What do they write about?  Would poems be different if they weren't mothers?  Anne Bradstreet writes about domestic life - her children, her husband, etc... but she is deeper than a typical housewife.  She has a lot to offer.  Have students explore the notion that Anne was escaping the domestic life by writing about it.

Making A Fist



We forget that we are all dead men conversing wtih dead men.
—Jorge Luis Borges

For the first time, on the road north of Tampico,
I felt the life sliding out of me,
a drum in the desert, harder and harder to hear.
I was seven, I lay in the car
watching palm trees swirl a sickening pattern past the glass.
My stomach was a melon split wide inside my skin.

'How do you know if you are going to die?'
I begged my mother.
We had been traveling for days.
With strange confidence she answered,
'When you can no longer make a fist.'

Years later I smile to think of that journey,
the borders we must cross separately,
stamped with our unanswerable woes.
I who did not die, who am still living,
still lying in the backseat behind all my questions,
clenching and opening one small hand. 

Monday, October 29, 2012

Variations on the Word Love


!!

Variations on the Word Love

By Margaret Atwood
This is a word we use to plug
holes with. It's the right size for those warm
blanks in speech, for those red heart-
shaped vacancies on the page that look nothing
like real hearts. Add lace
and you can sell
it. We insert it also in the one empty
space on the printed form
that comes with no instructions. There are whole
magazines with not much in them
but the word love, you can
rub it all over your body and you
can cook with it too. How do we know
it isn't what goes on at the cool
debaucheries of slugs under damp
pieces of cardboard? As for the weed-
seedlings nosing their tough snouts up
among the lettuces, they shout it.
Love! Love! sing the soldiers, raising
their glittering knives in salute.

Then there's the two
of us. This word
is far too short for us, it has only
four letters, too sparse
to fill those deep bare
vacuums between the stars
that press on us with their deafness.
It's not love we don't wish
to fall into, but that fear.
this word is not enough but it will
have to do. It's a single
vowel in this metallic
silence, a mouth that says
O again and again in wonder
and pain, a breath, a finger
grip on a cliffside. You can
hold on or let go. 

Whatif by Shel Silverstein

Shel Silverstein
Whatif by Shel Silverstein
Last night, while I lay thinking here,
some Whatifs crawled inside my ear
and pranced and partied all night long
and sang their same old Whatif song:
Whatif I'm dumb in school?
Whatif they've closed the swimming pool?
Whatif I get beat up?
Whatif there's poison in my cup?
Whatif I start to cry?
Whatif I get sick and die?
Whatif I flunk that test?
Whatif green hair grows on my chest?
Whatif nobody likes me?
Whatif a bolt of lightning strikes me?
Whatif I don't grow taller?
Whatif my head starts getting smaller?
Whatif the fish won't bite?
Whatif the wind tears up my kite?
Whatif they start a war?
Whatif my parents get divorced?
Whatif the bus is late?
Whatif my teeth don't grow in straight?
Whatif I tear my pants?
Whatif I never learn to dance?
Everything seems well, and then
the nighttime Whatifs strike again!

What do YOUR Whatifs look like?