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Greetings, everyone! I have read the proceeding essay a few times now, and I finally found the time to type it for sharing. The work served as an introduction to one of his collections of poetry during his life time. Despite its length, I surely admit of its worthiness in reading. I only hope I attached the document correctly. Enjoy, regardless.
Well, what do you all think?
I can only derive one painstaking question for you all to answer: which seems superior, free verse or rhyming "restricted" verse? Why?
Eeemm... still have to 'read' it, meaning, read it and get the idea of what is he actually trying to say. Might get an opinion then.
PAX
All that matters is to be at one with the living God
To be a creature in the house of the God of Life.
Like a cat asleep on a chair
at peace, in peace
and at one with the master of the house, with the
mistress
at home, at home in the house of the living,
sleeping on the hearth, and yawning before the fire.
Sleeping on the hearth of the living world,
yawning at home before the fire of life
feeling the presence of the living God
like a great reassurance
a deep calm in the heart
a presence
as of a master sitting at the board
in his own and greater being,
in the house of life.
-- by D.H. Lawrence
quasi, thanks for starting this thread. I love that poem, too. I can't believe you found this document and typed it, poor you, but thanks a million. I was about to scan it tonight, but it takes so long to scan and correct the copy. I have it from a library book, actually an old book - "D.H.Lawrence, Selected Literary Criticism". It is uncanny I should look in here and see your thread; I was just reading it from my book. I had scanned a number of other things I was interested in from this book, before I have to return it.
Dreams Nascent
D. H. Lawrence
My world is a painted fresco, where coloured shapes
Of old, ineffectual lives linger blurred and warm;
An endless tapestry the past has women drapes
The halls of my life, compelling my soul to conform.
The surface of dreams is broken,
The picture of the past is shaken and scattered.
Fluent, active figures of men pass along the railway, and I am woken
From the dreams that the distance flattered.
Along the railway, active figures of men.
They have a secret that stirs in their limbs as they move
Out of the distance, nearer, commanding my dreamy world.
Here in the subtle, rounded flesh
Beats the active ecstasy.
In the sudden lifting my eyes, it is clearer,
The fascination of the quick, restless Creator moving through the mesh
Of men, vibrating in ecstasy through the rounded flesh.
Oh my boys, bending over your books,
In you is trembling and fusing
The creation of a new-patterned dream, dream of a generation:
And I watch to see the Creator, the power that patterns the dream.
The old dreams are beautiful, beloved, soft-toned, and sure,
But the dream-stuff is molten and moving mysteriously,
Alluring my eyes; for I, am I not also dream-stuff,
Am I not quickening, diffusing myself in the pattern, shaping and shapen?
Here in my class is the answer for the great yearning:
Eyes where I can watch the swim of old dreams reflected on the molten metal of dreams,
Watch the stir which is rhythmic and moves them all as a heart-beat moves the blood,
Here in the swelling flesh the great activity working,
Visible there in the change of eyes and the mobile features.
Oh the great mystery and fascination of the unseen Shaper,
The power of the melting, fusing Force—heat, light, all in one,
Everything great and mysterious in one, swelling and shaping the dream in the flesh,
As it swells and shapes a bud into blossom.
Oh the terrible ecstasy of the consciousness that I am life!
Oh the miracle of the whole, the widespread, labouring concentration
Swelling mankind like one bud to bring forth the fruit of a dream,
Oh the terror of lifting the innermost I out of the sweep of the impulse of life,
And watching the great Thing labouring through the whole round flesh of the world;
And striving to catch a glimpse of the shape of the coming dream,
As it quickens within the labouring, white-hot metal,
Catch the scent and the colour of the coming dream,
Then to fall back exhausted into the unconscious, molten life!
Online text © 1998-2007 Poetry X. All rights reserved.
From Amores | B. W. Huebsch, 1916
Personally I hate modern poetry, but I make exception with this one. Maybe it's the bitter sarcastic tone (you know I'm very fond of sarcasm, satire and sardonic wit) but I *feel* it (which is how I define a great poem):
How Beastly The Bourgeois Is
D. H. Lawrence
How beastly the bourgeois is
especially the male of the species—
Presentable, eminently presentable—
shall I make you a present of him?
Isn’t he handsome? Isn’t he healthy? Isn’t he a fine specimen?
Doesn’t he look the fresh clean Englishman, outside?
Isn’t it God’s own image? tramping his thirty miles a day
after partridges, or a little rubber ball?
wouldn’t you like to be like that, well off, and quite the
thing
Oh, but wait!
Let him meet a new emotion, let him be faced with another
man’s need,
let him come home to a bit of moral difficulty, let life
face him with a new demand on his understanding
and then watch him go soggy, like a wet meringue.
Watch him turn into a mess, either a fool or a bully.
Just watch the display of him, confronted with a new
demand on his intelligence,
a new life-demand.
How beastly the bourgeois is
especially the male of the species—
Nicely groomed, like a mushroom
standing there so sleek and erect and eyeable—
and like a fungus, living on the remains of a bygone life
sucking his life out of the dead leaves of greater life
than his own.
And even so, he’s stale, he’s been there too long.
Touch him, and you’ll find he’s all gone inside
just like an old mushroom, all wormy inside, and hollow
under a smooth skin and an upright appearance.
Full of seething, wormy, hollow feelings
rather nasty—
How beastly the bourgeois is!
Standing in their thousands, these appearances, in damp
England
what a pity they can’t all be kicked over
like sickening toadstools, and left to melt back, swiftly
into the soil of England.
I love that...LMAO!
Countess, yeah that was Lawrence for you! He was pretty bitter (putting it mildly) about the 'Bourgeois' in England. This poem did make me laugh - showing L's true colors well!
Quasi, I love that one. I must look it up in my book.
Thanks for posting it. J
Hmm, interesting, his Dreams Old and Nascent is on the site hereQuote:
Originally Posted by quasimodo1
http://www.online-literature.com/dh_lawrence/3398/
and this site lists it as "A Still Afternoon. Dreams Old and Nascent"
.
Old
I have opened the window to warm my hands on the sill
Where the sunlight soaks in the stone: the afternoon
Is full of dreams, my love, the boys are all still
In a wistful dream of Lorna Doone.
The clink of the shunting engines is sharp and fine,
Like savage music striking far off, and there
On the great, uplifted blue palace, lights stir and shine
Where the glass is domed in the blue, soft air.
There lies the world, my darling, full of wonder and wistfulness and strange
Recognition and greetings of half-acquaint things, as I greet the cloud
Of blue palace aloft there, among misty indefinite dreams that range
At the back of my life's horizon, where the dreamings of past lives crowd.
Over the nearness of Norwood Hill, through the mellow veil
Of the afternoon glows to me the old romance of David and Dora,
With the old, sweet, soothing tears, and laughter that shakes the sail
Of the ship of the soul over seas where dreamed dreams lure the unoceaned explorer.
All the bygone, hushed years
Streaming back where the mist distils
Into forgetfulness: soft-sailing waters where fears
No longer shake, where the silk sail fills
With an unfelt breeze that ebbs over the seas, where the storm
Of living has passed, on and on
Through the coloured iridescence that swims in the warm
Wake of the tumult now spent and gone,
Drifts my boat, wistfully lapsing after
The mists of vanishing tears and the echo of laughter.
.
Nascent
My world is a painted fresco, where coloured shapes
Of old, ineffectual lives linger blurred and warm;
An endless tapestry the past has women drapes
The halls of my life, compelling my soul to conform.
The surface of dreams is broken,
The picture of the past is shaken and scattered.
Fluent, active figures of men pass along the railway, and I am woken
From the dreams that the distance flattered.
Along the railway, active figures of men.
They have a secret that stirs in their limbs as they move
Out of the distance, nearer, commanding my dreamy world.
Here in the subtle, rounded flesh
Beats the active ecstasy.
In the sudden lifting my eyes, it is clearer,
The fascination of the quick, restless Creator moving through the mesh
Of men, vibrating in ecstasy through the rounded flesh.
Oh my boys, bending over your books,
In you is trembling and fusing
The creation of a new-patterned dream, dream of a generation:
And I watch to see the Creator, the power that patterns the dream.
The old dreams are beautiful, beloved, soft-toned, and sure,
But the dream-stuff is molten and moving mysteriously,
Alluring my eyes; for I, am I not also dream-stuff,
Am I not quickening, diffusing myself in the pattern, shaping and shapen?
Here in my class is the answer for the great yearning:
Eyes where I can watch the swim of old dreams reflected on the molten metal of dreams,
Watch the stir which is rhythmic and moves them all as a heart-beat moves the blood,
Here in the swelling flesh the great activity working,
Visible there in the change of eyes and the mobile features.
Oh the great mystery and fascination of the unseen Shaper,
The power of the melting, fusing Force--heat, light, all in one,
Everything great and mysterious in one, swelling and shaping the dream in the flesh,
As it swells and shapes a bud into blossom.
Oh the terrible ecstasy of the consciousness that I am life!
Oh the miracle of the whole, the widespread, labouring concentration
Swelling mankind like one bud to bring forth the fruit of a dream,
Oh the terror of lifting the innermost I out of the sweep of the impulse of life,
And watching the great Thing labouring through the whole round flesh of the world;
And striving to catch a glimpse of the shape of the coming dream,
As it quickens within the labouring, white-hot metal,
Catch the scent and the colour of the coming dream,
Then to fall back exhausted into the unconscious, molten life!
Hi Logos, first, I love these two poems. Thanks so much for posting them. I had to look up the second one in my book and you won't believe it, there is a third version, apparently. The book I have is "The Complete Poems of D.H.Lawrence", Wordsworth Editions Limited 1994. I know that Lawrence often completely re-wrote his novels/stories, even from scratch, but I was unaware that he did this with his poetry. My version has extra stanza's and some of the words are different, such as line 3 is 'woven drapes', also the first line is not 'painted frescos', but 'painted memory'. In my book this version has a full 18 stanzas; and the poem is separated into 4 parts.
How odd, what do you make of it? My only thought is that much of Lawrence's work has been restored to his original writings, other than that I haven't a clue.
D.H. Lawrence (1885–1930). Amores. 1916.
6. Monologue of a Mother
THIS is the last of all, this is the last!
I must hold my hands, and turn my face to the fire,
I must watch my dead days fusing together in dross,
Shape after shape, and scene after scene from my past
Fusing to one dead mass in the sinking fire 5
Where the ash on the dying coals grows swiftly, like heavy moss.
Strange he is, my son, whom I have awaited like a loyer,
Strange to me like a captive in a foreign country, haunting
The confines and gazing out on the land where the wind is free;
White and gaunt, with wistful eyes that hover 10
Always on the distance, as if his soul were chaunting
The monotonous weird of departure away from me.
Like a strange white bird blown out of the frozen seas,
Like a bird from the far north blown with a broken wing
Into our sooty garden, he drags and beats 15
From place to place perpetually, seeking release
From me, from the hand of my love which creeps up, needing
His happiness, whilst he in displeasure retreats.
I must look away from him, for my faded eyes
Like a cringing dog at his heels offend him now, 20
Like a toothless hound pursuing him with my will,
Till he chafes at my crouching persistence, and a sharp spark flies
In my soul from under the sudden frown of his brow,
As he blenches and turns away, and my heart stands still.
This is the last, it will not be any more. 25
All my life I have borne the burden of myself,
All the long years of sitting in my husband’s house,
Never have I said to myself as he closed the door:
“Now I am caught!—You are hopelessly lost, O Self,
You are frightened with joy, my heart, like a frightened mouse.” 30
Three times have I offered myself, three times rejected.
It will not be any more. No more, my son, my son!
Never to know the glad freedom of obedience, since long ago
The angel of childhood kissed me and went. I expected
Another would take me,—and now, my son, O my son, 35
I must sit awhile and wait, and never know
The loss of myself, till death comes, who cannot fail.
Death, in whose service is nothing of gladness, takes me:
For the lips and the eyes of God are behind a veil.
And the thought of the lipless voice of the Father shakes me 40
With fear, and fills my eyes with the tears of desire,
And my heart rebels with anguish as night draws nigher.
My what a surprise to come back from vacation to find a special thread for Lawrence's poetry. Janine is really spreading the word. :) I have somewhat despaired at the poor selections of Lawrence's poems that are typically anthologized. They don't really show the real poet. There are a wealth of fine poems out there that hardly anyone has heard of. I have always wished for someone to collect the very best of his poems and publish it. I know there is the Complete Poems, as Janine I think mentioned. But it includes a lot of mediocrity that one has to wade through. Oh well. Very good selections here. I will have to post some as well. :)
Conundrums
D. H. Lawrence
Tell me a word
that you've often heard,
yet it makes you squint
when you see it in print!
Tell me a thing
that you've often seen
yet if put in a book
it makes you turn green!
Tell me a thing
that you often do,
when described in a story
shocks you through and through!
Tell me what's wrong
with words or with you
that you don't mind the thing
yet the name is taboo.
Piano
SOFTLY, in the dusk, a woman is singing to me;
Taking me back down the vista of years, till I see
A child sitting under the piano, in the boom of the tingling strings
And pressing the small, poised feet of a mother who smiles as she sings.
In spite of myself, the insidious mastry of song
Betrays me back, till the heart of me weeps to belong
To the old Sunday evenings at home, with winter outside
And hymns in the cozy parlor, the tinkling piano our guide.
So now it is vain for the singer to burst into clamor
With the great black piano apassionato. The glamor
Of childhood days is upon me, my manhood is cast
Down in the flood of remembrance, I weep like a child for the past.
D.H. Lawrence
Quasi, that last L poem you posted is one of my favorites; I know it so well. I have read it or heard it recited countless times. This depicts Lawrence's own mother, his great love for her and is such a beautiful rememberance and his longing for the past. It's a particularly personal poem of L's. ahhh...childhood memories!
I love this poem!!! Don't know why, but this last part got me tears in my eyes!Quote:
Originally Posted by Logos