THE BEGINNING, THE MIDDLE, AND THE END

Looking at my last post, Things That Slip Away in Time, I can see that I'm rather preoccupied these days with the subject of time — its nature, how it defines us at various stages of life, how the past shapes the future, how the past appears from the vantage point of the present.  Perhaps these are just idle thoughts on an idle Sunday afternoon, but they are the kind of thoughts that send me to the poetry of Billy Collins, for whom time seems to be a constant theme.

In particular, I have just reread the fine poem, Aristotle.  According to Collins, the inspiration for this poem arose upon reading Aristotle's Poetics, wherein the philosopher first articulated a principle that is now taken from granted by virtually everyone, specifically, that every literary work has three parts:  a beginning, a middle, and an ending.  As I read the poem, however, Collins is speaking not only of literary works, but also of life itself.  Indeed, what is life if not a beginning, where "almost anything can happen," followed by a middle, where "nothing is simple anymore," followed by an end, "where everything comes down to the destination we cannot help imagining . . . "? 

                                                    Aristotle

                                               by Billy Collins


                    This is the beginning.
                    Almost anything can happen.
                    This is where you find
                    the creation of light, a fish wriggling onto land,
                    the first word of Paradise Lost on an empty page.
                    Think of an egg, the letter A,
                    a woman ironing on a bare stage
                    as the heavy curtain rises.
                    This is the very beginning.
                    The first-person narrator introduces himself,
                    tells us about his lineage.
                    The mezzo-soprano stands in the wings.
                    Here the climbers are studying a map
                    or pulling on their long woolen socks.
                    This is early on, years before the Ark, dawn.
                    The profile of an animal is being smeared
                    on the wall of a cave,
                    and you have not yet learned to crawl.
                    This is the opening, the gambit,
                    a pawn moving forward an inch.
                    This is your first night with her,
                    your first night without her.
                    This is the first part
                    where the wheels begin to turn,
                    where the elevator begins its ascent,
                    before the doors lurch apart.

                    This is the middle.
                    Things have had time to get complicated,
                    messy, really.  Nothing is simple anymore.
                    Cities have sprouted up along the rivers
                    teeming with people at cross-purposes—
                    a million schemes, a million wild looks.
                    Disappointment unshoulders its knapsack
                    here and pitches his ragged tent.
                    This is the sticky part where the plot congeals,
                    where the action suddenly reverses
                    or swerves off in an outrageous direction.
                    Here the narrator devotes a long paragraph
                    to why Miriam does not want Edward's child.
                    Someone hides a letter under a pillow.
                    Here the aria rises to a pitch,
                    a song of betrayal, salted with revenge.
                    And the climbing party is stuck on a ledge
                    halfway up the mountain.
                    This is the bridge, the painful modulation.
                    This is the thick of things.
                    So much is crowded into the middle—
                    the guitars of Spain, piles of ripe avocados,
                    Russian uniforms, noisy parties,
                    lakeside kisses, arguments heard through a wall—
                    too much to name, too much to think about.

                    And this is the end,
                    the car running out of road,
                    the river losing its name in an ocean,
                    the long nose of the photographed horse
                    touching the white electronic line.
                    This is the colophon, the last elephant in the parade,
                    the empty wheelchair,
                    and pigeons floating down in the evening.
                    Here the stage is littered with bodies,
                    the narrator leads the characters to their cells,
                    and the climbers are in their graves.
                    It is me hitting the period
                    and you closing the book.
                    It is Sylvia Plath in the kitchen
                    and St. Clement with an anchor around his neck.
                    This is the final bit
                    thinning away to nothing.
                    This is the end, according to Aristotle,
                    what we have all been waiting for,
                    what everything comes down to,
                    the destination we cannot help imagining,
                    a streak of light in the sky,
                    a hat on a peg, and outside the cabin, falling leaves.


"Aristotle" from Picnic, Lightning (University of Pittsburgh Press, 1998), by Billy Collins.

THINGS THAT SLIP AWAY IN TIME

It's been said that the two keys to happiness are a good appetite and a bad memory.  I have never failed to meet the first requirement, and as I proceed into my seventies, I am assured that nature itself will take care of the second.  Indeed, as I read the following poem by Billy Collins last night, I felt myself smiling in recognition of the man who is stirred emotionally by a moon that seems to have drifted out of a love poem that he once knew by heart.

                                        Forgetfulness

                 The name of the author is the first to go
                 followed obediently by the title, the plot,
                 the heartbreaking conclusion, the entire novel
                 which suddenly becomes one you have never read, never even heard of.

                 It is as if, one by one, the memories you used to harbor
                 decided to retire to the southern hemisphere of the brain,
                 to a little fishing village where there are no phones.

                 Long ago you kissed the names of the nine Muses goodbye
                 and watched the quadratic equation pack its bag,
                 and even now as you memorize the order of the planets,

                 something else is slipping away, a state flower perhaps,
                 the address of an uncle, the capital of Paraguay.

                 Whatever it is you are struggling to remember
                 it is not poised on the tip of your tongue,
                 not even lurking in some obscure corner of your spleen.

                 It has floated away down the dark mythological river
                 whose name begins with an L as far as you can recall,
                 well on your way to oblivion where you will join those
                 who have even forgotten how to swim and how to ride a bicycle.

                 No wonder you rise in the middle of the night
                 to look up the date of a famous battle in a book on war.
                 No wonder the moon in the window seems to have drifted
                 out of a love poem that you used to know by heart.

There is no need to fret, of course; indeed, for most of us, there are many things that are perhaps best forgotten.  As for the other things, it's well to remember (if we can) what Nietzsche said:  "The advantage of a bad memory is that one enjoys several times the same good things for the first time."

WHY POETRY?

It is difficult to get the news from poems,

yet men die miserably every day for the lack of what is found there.

William Carlos Williams

One of the great joys of blogging is the opportunity to interact with other people who love poetry, many of whom are poets themselves.  It's a social pleasure that I rarely encounter in my day-to-day life offline.  Perhaps it's an unjustifiable cultural bias of mine, but most of my fellow Americans seem to head for the exits at the mere mention of poetry.

Thanks to an extraordinary teacher I had in high school, poetry has been a constant companion of mine for more than five decades.  When I have felt friendless and alone, poetry has offered its friendship and reminded me that I am not the first to undertake this uncertain voyage; nor shall I be the last.  When I have felt bewildered and lost, poetry has provided a bright lodestar against which I could take my bearings and find my way.  And when I have found myself stymied over the inability to understand the true essence of love—this pervasive ideal that seems impossible to define with any precision—poetry has always revealed something so beautiful, so simple and unexpected, that I could say at last, "yes, this is what love feels like." 

I'm digressing a bit here, for the main point of this post is to share some wonderful observations I have come across recently about the unique importance of poetry in our lives.  The first quote comes from  V.V. Raman, who is a theoretical physicist, rather than a poet himself.  All of the other quotes are from former poets laureate of the United States, and are found in The Poets Laureate Anthology (2010).

V.V. Raman

(From Interview with Krista Tippett in Einstein's God)

[P]oetry is what gives meaning to existence.  Not fact and figures and charts, but poetry. Poetry is essentially a really sophisticated way of experiencing the world.  And it is much more than mere words and stories.  Poetry is to the human condition what the telescope and the microscope are to the scientist.

W.S. Merwin

Prose is about something, but poetry is about what can't be said.  Why do people turn to poetry when all of a sudden the Twin Towers get hit, or when their marriage breaks up, or when the person they love most in the world drops dead in the same room?  Because they can't say it.  They can't say it at all, and they want something that addresses what can't be said.

Kay Ryan

It's poetry's uselessness that excites me . . . Prose is practical language. Conversation is practical language.  Let them handle the usefulness jobs. But of course, poetry has its balms.  It makes us feel less lonely by one.  It makes us have more room inside ourselves.

Billy Collins

Time is not just money—sorry, Ben Franklin—time is a way of telling us if we are moving at the right pace through the life that has been given us. One of the most basic pleasures of poetry is the way it slows us down. The intentionality of its language gives us pause.  Its formal arrangement checks our haste.

Stanley Kunitz

If we want to know what it felt like to be alive at any given moment in the long odyssey of the race, it is to poetry we must turn.  The moment is dear to us, precisely because it is so fugitive, and it is somewhat of a paradox that poets should spend a lifetime hunting for the magic that will make the moment stay.  Art is the chalice into which we pour the wine of transcendence.  What is imagination but a reflection of our yearning to belong to eternity as well as to time.

Robert Fitzgerald 

Our lifetimes have seen the opening of abysses before which the mind quails.  But it seems to me there are few things everyone can humbly try to hold onto: love and mercy (and humor) in everyday living; the quest for exact truth in language and affairs of the intellect; self-recollection or prayer; and the peace, the composed energy of art.

                                         

Photos:  Photo of V.V. Raman downloaded from Wikipedia.  All other photos were downloaded from the website of the Poet Laureates of the United States.