This living hand, now warm and capable

To give myself something to do while the temperatures dip to the teens below zero (Fahrenheit), I thought I might try to understand what it is about this little poem that makes it so famous. If Keats can turn a poem, a little eight line fragment, into a masterpiece, maybe you can too. Here’s the poem, in case you’ve never read it:

This living hand, now warm and capable
Of earnest grasping, would, if it were cold
And in the icy silence of the tomb,
So haunt thy days and chill thy dreaming nights
That thou would wish thine own heart dry of blood,
So in my veins red life might stream again,
And thou be conscience-calm’d. See, here it is —
I hold it towards you.

~ the Poems of John Keats, edited by Jack Stillinger (the hardcover) p. 503

Some History and Diversionary Thoughts

Now, curiously, the first thing I notice is that there’s a typo and, as it turns out, the typo is Keats’s. The verb tense in line 5 is incorrect. “Thou would” should read “Thou would’st”. I’m hardly the first to notice this, but it suggests a couple possibilities: that Keats wrote this hastily and/or Keatsthat the use, by then, of archaic thee/thou still wasn’t second nature. I lean more toward the first explanation, since Keats had already written most of his poetry using this poetic convention.

Keats took some heat for his use of archaic diction. When Wordsworth was writing the following:

“There will also be found in these volumes little of what is usually called poetic diction”.

Keats (?) was writing:

Edit: A reader asked if I could cite a source for this passage. I thought I had gotten it from my Riverside copy of Keats’s Poems and Letters, but can’t find it there (I normally cite most everything I can). Having searched the kindle edition of the Letters of John Keats to His Family and Friends and not having found it, I’m going to err on the side caution. Unless another reader can provide a source, I’m thinking this quote is spurious. My apologies.

“As one’s environment is bound to mould one’s behaviour so is one’s writing likely to be influenced by what one reads. By this premise, to my mind, words such as “thou” and “thine”, though archaic in nature, would always justify their usage at least in poetic forms so long as the works of Shakespeare and those of the great poets of old remain relevant to the present and the succeeding ages. Therefore, if archaic words pervade my verse it is not out of a hope that taking recourse to such-like seeming affectations by themselves would lift my muse to sublime heights of the past; but, conversely, I poetise them mainly for reasons of effectual rhyming and in recognition of the fact that these discarded words had kept company with the best in literature. Furthermore, I feel secure in the knowledge that Spencer and Chaucer amongst many other of their ilk infused their inimitable writings with usage of archaic words; and therefore, I feel, by using any such words I am by no means committing any grave transgression which contemporary writing may find it difficult to digest.”

The conventional usage of poetic archaisms like thee and thou was still an acceptable one in Keats’ day (according to then prevalent aesthetics — and unlike now). Nevertheless, the first stirrings of a more “modern” poetic language were already to be found in some of his contemporaries.

The Cambridge Companion to Keats offers Keats poem this way:

This living hand, now wa[r]m and capable
Of ea[r]nest grasping, would, if it were cold
and in the icy silence of the tomb,
So haunt thy days and chill thy dreaming nights
············································heat
That thou would wish thine own dry of blood
So in my veins red life might stream again,
and thou be conscience-calm’d — see here it is
I hold it towards you — [Facsimile edition, 258 from p. 116 of The Cambridge Companion]

I’ve looked but haven’t been able to google an image of the orginal MS. If someone else has any luck, comment or send me a link. See the link provided in the comment section below.

According to Stillinger, the poem was “written probably toward the end of 1819” and were “drafted or copied on the outside recto of a folded sheet on which, after turning it over and around, Keats drafted stanzas 45-51 of The Jealousies; they thus appear upside down…”

So, my own supposition, based on the misspellings and mistakes, is that this was not copied but was a quick draft. Keats apparently, and to judge by his writing of Otho the Great, could quickly and fluidly write competent verse (which by Keats’s standards is far and above the best verse of lesser talents). My hunch is that the lines occurred to him because of another prepossessing thought and quickly jotted them down to prevent them being lost. The idea, tone and imagery must have appealed to him as much as to us. He didn’t have a larger poem in which to place these lines and might have written something later. Perhaps Keats had been turning over these lines in response to another prompt. I’ve always felt that he had Fanny Brawne in mind, and I don’t have a clue as to why I think so. Maybe I read it somewhere, but I don’t think so. Did Keats write the lines in premonition of his own death by Tubercolosis? There’s a fascinating article here. Of concern to us is the following paragraph:

“On 3 February 1820, he traveled from town, sitting on the outside of the coach to save money, and, perhaps foolishly, he had left off his coat. He got off the coach at the top of Pond Street and stumbled into Wentworth Place at about 11:00 P.M. Brown did not like the look of him, thought that he might have been drinking, for he looked ill, and advised him to go to bed immediately. Brown went to Keats’s room with a glass of spirits, and, as he was getting into bed, Keats coughed and a small spot of blood appeared on the sheet. Brown heard him say, “That is blood from my mouth, bring me the candle Brown, let me see this blood.” And then, looking up at Brown, he said, “I know the colour of that blood; it is arterial blood. I cannot be deceived in that colour. That drop of blood is my death warrant. I must die.” And, indeed, how accurate he was in diagnosis and prognosis, for he died in Rome just over a year later.”

This tells us that Keats wrote This Living Hand before he knew that he had Tuberculosis (and was going to die from it). That said, he apparently had been suffering bouts of ill health, including sore throats, during 1819. Having been trained as a physician, and living in a time and place where Tuberculosis was rampant and had killed his brother, it’s hardly a stretch to assert that he must have dreaded and feared the disease and was mordantly alert to its symptoms. It’s possible that these lines were written in response to that constant dread.

Interestingly, at around the same time, or possibly a little earlier in 1819, Keats was revising Hyperion, and wrote these lines:

Since every man whose soul is not a clod
Hath visions, and would speak, if he had lov’d
And been well nurtured in his mother tongue,
Whether the dream now purposed to rehearse
Be poet’s or fanatic’s will be known
When this warm scribe my hand is in the grave (I.13-18 The Fall of Hyperion)

The final line bears more than a striking resemblance to “This Living hand…” Is there a connection? If chronologies are correct, then Keats wrote the line in Hyperion before writing “This Living hand…” Death was ever present. When thinking of his own art, he seemed to embody his craft and career in the metaphor of his hand, “this warm scribe”. The ‘I’ of the poem is a poet and I don’t think it’s far-fetched to imagine that Keats was largely projecting himself into the identity of the narrator.

  • In 1818, in a letter to his brother, Keats was to write: “Warm is the nerve of a welcoming hand…”

All this is a round-about leading to a conjecture. Some have suggested that Keats might have been jotting down ideas for a proposed verse drama (with his friend Brown) but if this were true then one would expect to find more ideas and jottings. I doubt he was directing the fragment to Fanny Brawne who was, after all, his fiancé. If only because of Hyperion, and the chronological proximity of the line in Hyperion to the fragment This Living Hand. Id argue that the poem is a reference to himself or more specifically, his art — the phrase “This living hand”, being a reference to his skill as poet. The poem, as I interpret it, is consciously or subconsciously a very personal cry of anger and terror. The you of the poem, addressed as thou, can be interpreted as you, me, fate, God, present and future readers, etc. His poetic art, embodied in his hand — his warm scribe — he holds out toward us and toward God. He writes, this is what you/we have to lose if my life is taken so soon. One could argue that Keats wouldn’t refer to God as wishing his heart “dry of blood”, but if understood metaphorically, then the threat is a way of communicating the magnitude of the injustice (rather than as anything literal).

It’s fair to counter that Keats didn’t write poems this way. Like Mozart, he always seemed to draw a veil between himself and his art. But this poetic fragment is unusual.

The Meter

First, the meter is blank-verse and so regular that I’ll forgo a full-blown scansion:

This liv|ing hand,| now warm| and ca|pable
Of earn|est gras|ping, would,| if it| were cold
And in |the i|cy si|lence of |the tomb,
So haunt |thy days |and chill| thy drea|ming nights
That thou |would wish| thine own |heart dry |of blood,
So in |my veins| red life |might stream| again,
And thou |be con|science-calm’d.| See, here |it is —
I hold |it towards |you.

Or the last line may alternately be read:

I hold| it to|wards you.

All of the feet are Iambic Pentamter. In other words, there are no variant feet. I bolded wish and own to show how the meter emphasizes the content of them. The last line is the most interesting though, and changes everything. Depending on what Keats wrote next, the words towards could have been either disyllabic or monosyllabic. For clues, we would have to see how Keats used the word elsewhere. Here are some examples (from An Electronic Concordance of Keats’ Poetry):

One, loveliest, holding her white hand to|ward Sleep and Poetry, Line 366
Might turn their steps to|wards the sober ring Endymion: A Poetic Romance, Book I, Line 356
And then, to|wards me, like a very maid, Endymion: A Poetic Romance, Book I, Line 634
Over the pathless waves to|wards him bows. Isabella; or, The Pot of Basil, Line 96
Of the garden-terrace, towards or to|wards ? him they bent Isabella; or, The Pot of Basil, Line 179
To spur three leagues to|wards the Apennine; Isabella; or, The Pot of Basil, Line 186
A Cabinet, opening to|wards a Terrace. Otho the Great, Act V, SCENE IV, Setting
And |towards| her stept: she, like a moon in wane,
So saw he panting light, and |towards| it went Endymion: A Poetic Romance, Book II, Line 383
Walk’d |towards| the temple grove with this lament: Endymion: A Poetic Romance, Book IV, Line 926

To judge by these examples (and for the purposes of meter) Keats generally pronounced towards as having two syllables, pronounced to-wards. The last three examples show him opportunistically treating the towards as monosyllabic. What he never does (at least in his poetry) is to treat towards as a two syllable trochaic word, in other words — to|wards you. This would be perfectly acceptable, but based on precedence, he was probably treating towards monosyllabically:

towards| you

This puts the emphasis on towards rather than you. Too bad we don’t know. It would be interesting if he had intended on putting the emphasis on you. This would considerably change the emphasis of the poem, suggesting a much more personal addressee. It would also be the first  time, to my knowledge, that he treated towards as a trochaic word. Such are the subtleties of meter.

What’s also interesting is that he drops the archaic thou. For instance, he could have written:

I hold it towards thee.

Why drop the older address? Is it another sign of haste/hasty composition? — or does it possibly indicate a change of address and a more personal one? — encouraging us, in that case, to read the meter as emphasizing you.

One might be tempted to suggest that the use of thee and thou was a more formal address, but in some contexts it could also be more affectionate. Attempts have been made to discern if thou was normally one or the other but, at least based on studies of Shakespeare and Elizabethan usage, no hard and fast conclusion could be drawn. It all seems to boil down to context, which itself isn’t always reliable. How did Keats use it? That’s also hard to discern because his use, by this time, was a convention. He was imitating its use in poets like Shakespeare, Milton and his contemporaries, and probably was equally free with its connotations. Personally, in This Living Hand, I’m tempted to read the initial use as formal, and the final line, when he holds out his hand, as intentionally more personal. This means I’m also more inclined to put the metrical emphasis on you, (based on this shift of address), but this reading admittedly demands that we read Keats a little differently here than in any of his other preceding poems.

What’s the precedence? I notice that Keats will sometimes mix addresses, using Your when, by rights, he should use Thy. For instance, in King Stephen, Act I, sc. iv, Maud addresses Glouster as thou:

Not for the poor sake
Of regal pomp and a vainglorious hour,
As thou with wary speech…

But then a moment later she will say:

Your pardon, brother,
I would no more of that…

Rather than, more correctly, “Thy pardon, brother”. So, Keats didn’t always keep his forms of address straight, and it’s possible that these decisions were deliberate. Perhaps Maud’s change of address reflects a moment of affectionate politeness when asking for her brother’s “pardon”. This would suggest that Keats treats you and your as a more affectionate form of address and is suggestive when considering This living hand.

On the other hand, Keats makes a complete mess of pronouns in Ode on Melancholy:

NO, no! go not to Lethe, neither twist
Wolf’s-bane, tight-rooted, for its poisonous wine;
Nor suffer thy pale forehead to be kist
By nightshade, ruby grape of Proserpine;
Make not your rosary of yew-berries,
Nor let the beetle, nor the death-moth be
Your mournful Psyche, nor the downy owl
A partner in your sorrow’s mysteries;
For shade to shade will come too drowsily,
And drown the wakeful anguish of the soul.

But when the melancholy fit shall fall
Sudden from heaven like a weeping cloud,
That fosters the droop-headed flowers all,
And hides the green hill in an April shroud;
Then glut thy sorrow on a morning rose,
Or on the rainbow of the salt sand-wave,
Or on the wealth of globèd peonies;
Or if thy mistress some rich anger shows,
Emprison her soft hand, and let her rave,
And feed deep, deep upon her peerless eyes…

Why? Your is the possessive form of Ye, but in this case I don’t think Keats intended the plural possessive pronoun of Ye when writing Your.  I would have to say it’s one of two possibilities and I lean toward the latter. The first is sheer sloppiness. Yes, I know he was a genius, but there’s no better way to put it. Keats was using a poetic convention and slipped up because the archaic address just wasn’t something he used in everyday speech.  The latter explanation is that he was more interested in sounds than correct grammar (the sound of your as opposed to thy). He was known to be very cognizant of the musicality of his lines. I lean toward the latter, but that’s speculation.

  • Interestingly,  an original sketch of the poem included these lines:

Though you should build a bark of dead men’s bones,
And rear a phantom gibbet for a mast,
Stitch creeds together for a sail, with groans
To fill it out, bloodstained and aghast;
Although your rudder be a Dragon’s tail,
Long sever’d, yet still hard with agony,
Your cordage large uprootings from the skull
Of bald Medusa; certes you would fail
To find the Melancholy, whether she
Dreameth in any isle of Lethe dull.

As you can see, the form of address is the modern you. What this suggests is that Keats originally used the more modern form then, in the process of finalizing the poem, switched to the archaic thou, but only did so haphazardly or half heartedly (the original sketches of the poem apparently haven’t survived). At any rate, Keats appears never to have been fully satisfied with the Ode, and so it’s possible that the published version (despite being published) is really more of an abandoned sketch — let go because he was fed up with it. It’s known that unlike other poems, Keats continued to edit the fair copy of Ode to Melancholy, settling on the first stanza’s ‘drowsily’ after trying ‘heavily’ and ‘sleepily’.  He changed ‘Then feed thy sorrow on a morning rose / Or on the rainbow of the dashing waves’ to ‘Then glut thy sorrow on a morning rose, / Or on the rainbow of the salt sand-wave’.  By comparison, Keats does not, for example, confuse pronouns in Ode on a Grecian Urn.

What I can’t example (though I haven’t searched exhaustively) is a similar switch between thou and you within the space of a few lines or a single poem. So, in the case of This living hand, the whole matter remains open to conjecture. It also may shed some light on his use of would rather than wouldst. Possibly, his thinking was already two lines ahead when, knowing that he would switch to you, he absent-mindedly wrote would.

All these are questions that, to my knowledge, haven’t been dealt with by other critics or readers, but it does, I think, offer different ways of reading the poem.

What Does it Do?

What makes this poem work? Why do these eight lines stick with us the way ten thousand poems since, just as brief (and some book length) don’t? The answer is in the combination of its simple, concrete imagery and in the way Keats skillfully binds the whole around the central idea of blood as life force.

It works like this (red is life/blood and blue is cold/death):

This living hand, now warm and capable
Of earnest grasping, would, if it were cold
And in the icy silence of the tomb,

In the first six lines, Keats contrasts opposites:

living <> tomb
warm <> cold
earnest grasping <> icy silence

He doesn’t just contrast living with the word dead, he evokes death by reference to the tomb — a concrete image rather than the abstraction of death. And characteristic of Keats is the physical sensuousness of his imagery. From a prior post on imagery, the following:

“Psychologists have identified seven kinds of mental images: visual (sight, then brightness, clarity, color, and motion), auditory (hearing), olfactory (smell), gustatory (taste) tactile (touch, then temperature, texture), organic (awareness of heartbeat, pulse, breathing, digestion), and kinesthetic (awareness of muscle tension and movement).”

Temperature|tactile “warm” “cold” “icy silence”
Motion|Kinesthetic “earnest grasping”
Auditory “icy silence

Icy silence is a synaesthetic image, my favorite kind, and one that especially suited Keats’ genius – giving a tactile sensation to silence. So, just as the hand feels it’s warmth, so too will it feel the icy silence of the tomb, but be incapable of earnest grasping, incapable of escape. What is especially powerful (and horrific) about this imagery is the subtle implication that there will still be consciousness in death — the consciousness and awareness of the tomb’s icy silence, but the inability to escape, the body having lost its warmth and ability to extricate itself.

So haunt thy days and chill thy dreaming nights
That thou would wish thine own heart dry of blood,
So in my veins red life might stream again,
And thou be conscience-calm’d. See, here it is —
I hold it towards you.

Once again, Keats hammers home the horror of the contrasting opposites.

dry of blood <> red life/stream
haunt/dreaming nights <> conscience-calmed

As if speaking from the tomb, he continues to evoke the breath of the tomb through words like haunt, chill and dreaming nights, as if describing the horror of the “living death” within the icy walls of a tomb — its endless “dreaming night” — suggesting that the addressee will be cursed by the same living death (even while still alive). The addressee — he or she — will wish themselves “dry of blood”. However, the astute reader will point out that being “dry of blood”, in the context of this poem, hardly allows one to escape the horror of an icy tomb and the consciousness of being dead (and icily unable to move from the tomb). But Keats suggests there’s a greater horror. What could be worse that a living death? — a tormented conscience. (Right, I know that the rest of you wouldn’t chose door number two, but this is the Romantic era and a guilty conscience was, I suppose, considered a fate worse than death.)

In terms of his use of imagery, Keats’ associative powers are the most like Shakespeare’s of any poet since Shakespeare — it’s little wonder that he’s considered, by most, our second greatest poet. After having written dry of blood, Keats’ imagination, in realizing opposites, quickly makes the association to a stream and streaming, the opposite of dry. The near-synaesthetic “red life” powerfully compresses color, blood, vitality and life into two short words. Compare this to the following concerning the Medieval French poet Villon:

Poetic shorthand was one of Villon’s strengths. Where contemporaries were sincere but long-winded he was sincere but succinct, stripping a thought to its essence. A typical example of this was how contemporaries expressed the idea of laughing through ones tears. Charles, Duke of Orleans, wrote:

Je ris des yeulx, et mon coeur place
I laugh with eyes and my heart cries

Alain Chartier wrote:

le pleure ens, et me ry par dehors
crying within, and laughing outside

Jean Molinet wrote:

Ma bouche rie at mon povre cueur pleure
My mouth laughs and my poor heart cries

Villon wrote:

je rie en pleursI laugh in tears.

[danse Macabre: Francois Villon: Poetry & Murder in Medieval France p. 93-94]

In truth, I think that all great poets share that capacity for brilliant elision. “Red life” is worthy of Villon and Shakespeare. The phrase “so that red life might stream” gives to red life a kinesthetic energy, makes it concrete through the descriptive and living stream. Shelley, by contrast, might have been more apt to leave it as an abstraction.

  • Related to this is the following anecdote concerning the poet George Gordon Lord Byron who wrote that he didn’t understand Keats’  highly compressed metaphor from an An Ode to a Nightingale: “a beaker full of the warm south”. Byron, wrote Keats’ friend and supporter Leigh Hunt, was “not accustomed to these poetical concentrations.”

The fragment finishes as it began. In the first lines Keats suggestively uses the phrase “capable of earnest grasping”, then closes with “I hold it towards you”. Consciously or subconsciously, the reader will already have the image of “earnest grasping” in place, and will apply that image to the later image of Keats holding his hand towards the addressee.

The dramatic air of the poem hinges on its being, up to the last line, a single sentence. It unfolds its subjunctive proposition relentlessly, accusingly, baiting and defying the reader to escape before the final and thou be conscience-calm’d. It is a small tour de force of dramatic utterance and its no wonder some critics have speculated that the poem was intended for the stage — for a later play.

In The Cambridge Companion to Keats, the editor Susan J. Wolfson (when she’s not veering dangerously close to academese) nicely sums up this baiting of the reader:

“…the poem effectively works “for ever”: the poet ‘s hand has to be reanimated by the reader, revived as living and capable of writing “This living hand…,” and fated, in the sequence described, to write istelf back into the silence of the grave, thence to emerge again. The verse breaks off, suspended in mid-line, its last “heated” word, you, asking the reader to surrender to the writer in a charged economy of antagonisms — of friendship turned to haunting.” [p. 116]

Wolfson also suggests that it’s not clear, at the end, which hand the speaker is holding out — the “living hand”, or the cold and icy hand.

“The parting shot, “see here it is/I hold it towards you,” issues an invitation, but to what? Does it refer to a warm living hand or a cold dead one? The reader has to imagine the present as past, the sensation of earnest grasping as the chilling grip of a nightmare, the actual as spectral, and the spectral as actual.” [Ibid]

That all sounds compellingly Poe-ish, but I’m not buying it. Such confusion, in my view, requires, at worst, a willful misreading. Frankly, I think Wolfson has gone a bit overboard. At the outset the speaker makes it clear that his hand is now “warm and capable of earnest grasping”. The poem gives the reader no reason to think — in the course of the poem — that he has died, that his hand has turned cold and icy, and that he now reaches towards the addressee from the tomb. That’s just over-eager analysis. “It” is the earnest grasping of his hand. The speaker starts by saying that his hand is capable of earnest grasping, and closes saying “See, here it is –” In other words, his hand is capable of it and, at the close of the poem, does it. This isn’t as exciting as Wolfson’s phantasmagoria, but it’s what’s supported by the text.

Keats Grave

“This Grave
contains all that was Mortal
of a
Young English Poet
Whoon his Death Bed
in the Bitterness of his Heart
at the Malicious Power of his Enemies
Desired
these Words to be engraven on his Tomb Stone
Here lies One
Whose Name was writ in Water.”

It’s said that Keats only wanted the final words to appear on his tombstone: Here lies one whose name was writ in Water”. Joseph Severn and Charles Brown, Keats’ close friends, felt that Keats had been badly mistreated by the critics of the day and somewhat implicated them in Keats’ early death. Later, it’s said, both men regretted adding their words to the tombstone.

That said, it’s hardly unreasonable to conjecture that Keats was very unhappy at his critical reception and discussed the matter with both his friends — hence their angry and grief-stricken decision to add the commentary to Keats’ tombstone. Was Keats’ poem related to the sentiments expressed on his tombstone? Was there some truth in their description? — “the bitterness of his heart”? It’s hard to imagine that Severn and Brown entirely fabricated the sentiment expressed on the tombstone. I’m inclined to believe that, at the time, they thought they were — to some degree — expressing the sentiments of their lost friend. They were striking out at the conscience of Keats’ critics; and it’s entirely possible that Keats, in his poem, was striking out (as I described at the outset of the post) at the conscience of all those who denigrated his art or, as he might have symbolized it, his warm and capable hand.

The Imagery

An example to all poets. If you want your poetry to really grip the reader, communicate through all your senses, not just your sense of sight. These days, whole books of poetry are published (by experienced poets who should know better) in which the only sense every utilized is the visual sense. Keats’ poetry, above all, is famed for its physical sensuousness.

Visual (sight, then brightness, clarity, color, and motion)
Auditory (hearing), olfactory (smell)
Gustatory (taste)
Tactile (touch, then temperature, texture)
Organic (awareness of heartbeat, pulse, breathing, digestion)
Kinesthetic (awareness of muscle tension and movement).

This living hand, now warm and capable
Of earnest grasping, would, if it were cold
And in the icy silence of the tomb,
So haunt thy days and chill thy dreaming nights
That thou would wish thine own heart dry of blood,
So in my veins red life might stream again,
And thou be conscience-calm’d. See, here it is —
I hold it towards you.

And that’s that. That’s all I can think to write at the moment.

Poets don’t improve…

“As I tell in the entry for October 22, 1952, he had asked me what I had been doing and I said I had been trying to make my poems better. Disdainfully he asserted that poets don’t improve, they only change. A poem must be written in one impulse, at one sitting, like a piece of ice on a hot stove that rides on its own melting. But a moment later he admitted that it had taken Grey eighteen years to complete his Elegy. I think Frost, if put in a corner, would concede that spontaneity sometimes has to be labored for.” [p. 85]

I laughed because I didn’t originally read this in terms of a poet improving or changing a given poem, but as a sardonic comment on their overall development.  I think there’s something to be said for that misinterpretation. The great poets (along with the mediocre) seem to be born with something that doesn’t improve, but only changes—and that invites a withering debate as to what we mean by change and improve. I won’t go there. Truth gets blurred in generalities, and I think it’s okay to enjoy the truth a little blurred. Certainly, the sly critique could be applied to a whole generation of poets who haven’t so much improved poetry, as changed it. I suspect the ever canny Frost would agree.

Berenice

There used to be a time when Newspaper’s regularly printed poetry. The poetry was of the greeting card variety (by today’s standards) mainly because the editors of the papers preferred to studiously pretend that modernism wasn’t happening. In a 1922 editorial, Harriet Monroe was to write of “newspaper verse”:

 “These syndicated rhymers, like the movie-producers, are learning that it pays to be good, [that one] gets by giving the people the emotions of virtue, simplicity and goodness, with this program paying at the box-office.”

Monroe’s fit of pique resulted in her founding The National Poetry Foundation, where the poet’s of the 2oth century could be liberated from the horrors of an appreciative readership. For the next 80 years (the rest of the 20th Century) Monroe and her coterie of poets, and their descendants, the babyboomers, triumphantly demonstrated to the world that their poetry deserved the same recognition for banal, venal, mediocrity as anything the Victorians had written. Their inaptitude was uniquely their own. They went home satisfied. The newspapers, in the meantime, decided poetry wasn’t worth it.

Up in New England, back in the early 20th century and late 19th century, nothing was wasted. When I remodel an old New England house, I’ll sometimes find old newspapers underneath floorboards or inside walls. It was used as a barrier for sound and air penetration. Whenever I find old papers like these, I always look for the poetry. Just before Christmas, I cut into some old boards (sheathing), in an old barn, underneath an old stairway that led to a dug cellar. There were two layers of boards and sure enough, between the two layers, I found layers of newspaper. Some old builder had put them in there to kill the air – cheaper than felt. The dates? Jan. 10, 1930. So, this stairway had been built in 1930 and hadn’t been touched since then. It just so happened that my skil-saw cut right through a little poem (you’ll see the cut in the scan). I saved it and am bringing this little poem, the kind that sent Monroe into paroxysms of indignation, back (and this time to the world). I hope the author, Francis Fuerst Quick, is smiling somewhere in the afterlife. She too wanted to be a recognized poet, I’m sure. I like to think that I’ve freed her voice, like a genie’s whisper, from the cold press of boards. I’ve searched for her name on the web and haven’t found it. So, it’s possible she appears on the World Wide Web for the first time. She speaks to you, tenderly and sentimentally, after a very long silence.

Berenice

Poems for your Scrap Book
Berenice

By Francis Fuerst Quick, in “Contemporary American Poets,” published by the Stratford Company, Boston

Such silly things my Baby sneaks to bed.
Sometimes a dolly or a crust of bread.
Sometimes a pencil with a blunty trend.
Tonight Dad’s hammer at the hammock’s end.

Such funny thoughts must flit about all night
From busy brain to active fingers tight
Clasping a book of storied fairy ream, —
“Oh mother, leave it—’cause it helps me dream!”

So, sadly, we—between sweet childhood and our Rest—
Clasping our old illusions to our breast,
Just as my Baby’s plea we also seem
To want to keep them—’cause they help us Dream!

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~ Up in Vermont • January 5 2014

History & Money, Lawyers & Politicians

My kids are currently in grade school. They’re learning all about the various wars, the soldiers, women and children collateral damage, and the heroic politicians and lawyers who saved us all. Just look at our currency. Way back when I was a child in Europe, before the Euro, European currency was (and somewhat remains) a colorful and lively affair, DE30much different from the pompous self-importance exuded by our own US currency. Here’s what a 5 Mark bill looked like in Germany (before the Euro).

The site, banknotes.com, which offers a collection of currencies from around the world (and the site from which most of these images come), identifies the image on the bank note as a “Portrait of a young Venetian woman (“Junge Venezianerin”) (1505) by Albrecht Dürer.” There are two things I love about the bank note. The first is that it’s a smiling woman (remember? — there are women on this planet too?) and the second is that the banknote honors an artist – Albrecht Dürer. Imagine that! An artist! Not a white, male politician, banker or lawyer. sacagaweaWhen is the last time our politicians deigned to put a woman on our currency? There’s the Susan B. Anthony, but my favorite remains the Sacagawea dollar.

There’s almost a smile there. She’s beautiful. She’s a mother. There’s a child. She’s native American. (Whenever I played cowboys and Indians, I always wanted to be the Indian along with idolizing Daniel Boone.)  As far as I’m concerned, Sacagawea, along with any number of great Native Americans, — men, women visionaries, chiefs and medicine men — deserve to be, permanently, on our currency. There’s not a single native American honored on the Fifty State Commemorative Quarters. (Remember the Indian head penny and nickel?) Likewise, there’s not a single artist, writer, architect, scientist, poet or composer (and I’m not sure there ever has been). Since its politicians (and by extension lawyers) who get to decide who and what’s important, they naturally conclude that they, in fact, are the most important members of our society. American’s politicians crafted their currency in their own image. Do we really need George Washington on the quarter and the one dollar bill? Washington, for all his good qualities, was also the owner of 135 slaves who played fast and loose with the law despite and during his (eventual) objection to slavery. He could have freed his slaves at any time, but chose not to, unlike his wife, who freed all the slaves she inherited some 12 months after Washington’s death. Washington’s status wouldn’t have been possible without his slaves. I’m not saying Washington doesn’t deserve to be honored, but what about Frederick Douglas? Douglas was, so I’ve read, greatly responsible for persuading and hardening Lincoln’s stance against slavery. Far as I’m concerned, Douglas deserves to be on the quarter. As Wikipedia puts it:

“Douglass was a firm believer in the equality of all people, whether black, female, Native American, or recent immigrant, famously quoted as saying, ‘I would unite with anybody to do right and with nobody to do wrong.'”

Such are the ideals that have made and continue to make our country (and any country) great. By comparison, here is what the Confederacy chose for their currency:

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Alabama, Central Bank, $10, October 1, 1857

This image comes from the online article Beyond Face Value: Slavery Iconography in Confederate Currency by Jules d’Hemecourt. Here is what d’Hemecourt writes about the 10 dollar note:

“When Baldwin, Ball & Cousland–another group of Northern printmakers hired by Confederates–produced a $10 note for the Central Bank of Alabama, it unabashedly presented detailed scenes of slaves picking and baling cotton beneath the reassuring bulk of the original Confederate capital of Montgomery, suggesting official protection of the slave system. Most telling of all is the inclusion of the iconic Gilbert Stuart portrait of George Washington, whose presence serves as a reminder that the greatest of all American presidents to date had been a Southern slaveholder, and, by implication, a supporter of the Confederacy and the perpetuation of the slave labor system. No symbol was more potent to Americans than that of George Washington, and throughout the war, Confederate and Union printmakers alike would claim his image as their own.”

In its currency, a country reveals what it values, it’s expectations and its ethics (and, at worst, propaganda). It’s telling that US Currency ignores the ordinary women, men, craftsmen, laborers, poets, writers, architects, artists and scientists who, arguably, did more for this country than all but a handful (a small handful) of lawyers or politicians. Interestingly, Among Lincoln’s earliest ambitions was the ambition to to be a poet. Lincoln’s favorite poem was Mortality by William Knox. Lincoln said of it:

“I would give all I am worth, and go in debt, to be able to write so fine a piece as I think that is.”

The value that Lincoln placed on language, the necessity of its beauty, and its power to persuade can’t be overstated. Lawrence Weldon, who heard Lincoln recite Knox’s poem, said of Lincoln:

“The weird and melancholy association of eloquence and poetry had a strong fascination for Mr. Lincoln’s mind. Tasteful composition, either of prose or poetry, which faithfully contrasted the realities of eternity with the unstable and fickle fortunes of time, made a strong impression on his mind.”

Lincoln’s awareness of poetry, inasmuch as poetry itself encapsulates a recognition of the beauty of language, rhetoric, style and its concomitant powers of persuasion, are unmatched by any other President (let alone American politician) and would eventually result in one of the greatest political speeches ever given — the Gettysburg Address. Nothing so encapsulates Lincoln’s genius and gift for rhetoric and language. But to really appreciate Lincoln’s awareness and ambition as a poet and writer, read Lincoln at Gettysburg: The Words that Remade America by Garry Wills.

So, I may like Lincoln for reasons other than that he was a lawyer and politician.

Here are some of my favorite bank notes (retired and current) from around the world:

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DE46German: Clara Schumann was a composer and concert pianist, wife of the great composer Robert Schumann.

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DE44German: The brothers Grimm, collectors of the Grimm fairy tales, known round the world.

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FR157French: A. de Saint-Exupery, author of The Little Prince. See him?

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DK44Denmark: Hans Christian Andersen.

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GB377BEngland: Sir Isaac Newton (Shockingly, England omits Shakespeare, only the world’s greatest poet & dramatist; but somehow made room for Sir Edward Elgar. Really? Elgar?)

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BE149Belgium: Belgian surrealist artist René François Ghislain Magritte (1898-1967)

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IT118RItaly: School of Athens by Renaissance artist Raphael.

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RU275Russia: The Bolshoi Theater

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NO41Norway: A woman and writer Camilla Collett (1813-1895).

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EURO500The Euro: Most of these, but for Newton (which was retired for separate reasons), were replaced by the Euro. In an effort to avoid arousing nationalist rivalries, the Euro doesn’t feature personalities (absolutely no politicians) but pragmatically showcases architecture — all of it quite beautiful.

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DDR29DDR: The only retired currency (that I know of) that featured a poet, and a truly great one at that, was printed by the DDR (former communist East Germany). Unfortunately it’s hard to know what part of Goethe’s prominence was cynical propaganda and what part a genuine honoring of the poet.

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In 2011, the Israeli cabinet approved currency featuring four poets and writers. The result?

IsraelInterestingly, the new currency was met with some outrage. As the linked article states, “No Sephardic or Mizrahi figures were chosen for this new series.”

“This morning’s approval is a symptom of the government’s behavior toward the Mizrahi public,” [Shas MK Aryeh Deri] said. “Mizrahim are excluded from the Supreme Court, academia, the media, the Israel Prize, the current government, and now it’s reached our banknotes.

Netenyahu’s reaction was to suggest “that the next figure to appear on an Israeli banknote be Rabbi Yehuda Halevi, the Spanish-Jewish poet and philosopher.” But the article argues this is unlikely to happen. Which explains why the Euro chose to stick with architecture though, in my view, they could have also featured a great painting, the opening notes to Beethoven’s Fifth Symphony, the blackboard scrawling of Neils Bohr or Einstein (without offending anyone). Such personalities are universal figures who collectively elevated mankind unlike, let’s say, Napoleon Bonaparte, whose ambition (despite what one may think of him) indisputable resulted in the deaths of millions (by some estimates).

And that brings me back to my children’s education.

What is taught as history is generally the history of warfare. Children learn about the nation states of classical Greece, their politics and strife, but little of its architectural, philosophic and artistic innovations (at least in my own experience and judging by my own children’s education). History seems to be the study of conflict, not innovation or creativity.  Who decides what appears in our public school textbooks? The government. And that governance sometimes amounts to little more than a handful of (ironically) anti-government, elected, authoritarian, ideological, school board officials in Texas.

Politicians are naturally going to see history in their own image — a history of ideology (religious and political), conflict, strife, winners and losers. As goes the political ideology of those in power, so goes the history lessons and textbooks. Currently, my children’s history class (7th grade) divides history into five currents: Geography, Desire for Power, Technology, Values, Economics.

Geography: An advantageously location will encourage economical prosperity.
Values: A culture’s religious beliefs can profoundly affect economic growth.
Economics: Dependent on its economic and political systems, prosperity may or may not be sustainable.
Desire for Power: Economic prosperity breeds ambition (economic and political) and potential conflict with other rival nation-states.
Technology: By technology, we mean weaponry. Economic rivalries inevitably breed arms-races as economic, political and geographic exigencies are disputed.

Are these the forces that drive history? They beautifully define what drives politics and politicians. I wouldn’t argue that they don’t matter, but I personally find the most important forces in history to be philosophical, inasmuch as philosophy eventually became science and that it was science, thought, exploration and innovation that created the world we live in.

  • In Ancient Tragedy and the Origins of Modern Science, Michael David finds the origins of modern science, in part, in the ancient classical Greek tragedy of Sophocles.

It was ideology and fundamentalism that destroyed the library of Alexandria. It was the ideology and fundamentalism of Islam that brought the brilliant mathematical innovations of Arabic mathematicians to an end. It was ideology and fundamentalism that nearly finished Galileo. Where freedom of thought (freedom from ideology) predominates, civilization flourishes. This is probably not the kind of history a good many Texas school boards would like (being populated, as they cyclically are, by rigid ideologues and religious fundamentalists). Ideology and fundamentalism are, by nature, authoritarian, and are traits that sit comfortably within (and gravitate toward) just about any religious context, and which frequently ignore or are in conflict with the liberal teachings of peace, love generosity and forgiveness. The problem is that most religions provide a ready toolbox for the ideologically and fundamentally minded — beginning with an unquestioning deference to authority.

What would I offer as the driving forces of history?

I think, first of all, that asking the question like this predetermines the answer because the word history is already rife with associations and assumptions. It’s how we’ve been educated. How about this question: What are the driving forces behind art, culture, innovation, cooperation, peace, prosperity? Instead of putting the emphasis on warfare and governance (and glorifying some extremely unsavory figures) we might teach children how human beings managed to get along and prosper (sometimes despite those forces).

I don’t expect everyone to agree. Many will remain much more interested in the world’s Cromwells than in its Aristarchus’s, Platos, Shakespeares, Bachs, DaVincis or Mozarts. I’m not saying they shouldn’t be and that they don’t have their place, only that our De facto starting point doesn’t have to be Alexander, Genghis Khan, Napoleon, Charlemagne, Hitler, Stalin, Pol Pot and any number of other egomaniacs, sociopaths, psychopaths and mass murderers — the inevitable biography of history, it seems, if history is reduced to nothing more than Geography, Values, Economics, Desire for Power, and Technology.

So, I admit I’ve vastly simplified the issues (it’s not my area of expertise) but I just wanted to sketch out some ideas.

Let me know what you think.

I’m one of those people that think Thomas Edison and the light bulb changed the world more than Karl Marx ever did.” Steve Jobs

Up in VermontJanuary 5 2014