A Tree Telling of Orpheus (1968)
Kontekst: And I
in terror
but not in doubt of
what I must do
in anguish, in haste,
wrenched from the earth root after root,
the soil heaving and cracking, the moss tearing asunder —
and behind me the others: my brothers
forgotten since dawn. In the forest
they too had heard,
and were pulling their roots in pain
out of a thousand years' layers of dead leaves,
rolling the rocks away,
breaking themselves
out of
their depths.
Denise Levertov:
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Denise Levertov: Cytaty po angielsku
A Tree Telling of Orpheus (1968)
Kontekst: Then as he sang
it was no longer sounds only that made the music:
he spoke, and as no tree listens I listened, and language
came into my roots
out of the earth,
into my bark
out of the air,
into the pores of my greenest shoots
gently as dew
and there was no word he sang but I knew its meaning.
Conversation in Moscow, Freedom
Kontekst: Leaps of nerve, heart —
cries of communion: if there is bliss,
it has
been already
and will be; out-
reaching, utterly.
Blind
to itself, flooded
with otherness.
Pleasures
With Eyes at the Back of Our Heads (1960)
A Tree Telling of Orpheus (1968)
Kontekst: He told of journeys,
of where sun and moon go while we stand in dark,
of an earth-journey he dreamed he would take some day
deeper than roots...
He told of the dreams of man, wars, passions, griefs,
and I, a tree, understood words – ah, it seemed
my thick bark would split like a sapling's that
grew too fast in the spring
when a late frost wounds it.
A Poets View (1984)
Kontekst: Acknowledgement, and celebration, of mystery probably constitutes the most consistent theme of my poetry from its very beginnings. Because it is a matter of which I am conscious, it is possible, however imprecisely, to call it an intellectual position; but it is one which emphasizes the incapacity of reason alone (much though I delight in elegant logic) to comprehend experience, and considers Imagination the chief of human faculties. It must therefore be by the exercise of that faculty that one moves toward faith, and possibly by its failure that one rejects it as delusion. Poems present their testimony as circumstantial evidences, not as closing argument. Where Wallace Stevens says, "God and the imagination are one," I would say that the imagination, which synergizes intellect, emotion and instinct, is the perceptive organ through which it is possible, though not inevitable, to experience God.
“Poems present their testimony as circumstantial evidences, not as closing argument.”
A Poets View (1984)
Kontekst: Acknowledgement, and celebration, of mystery probably constitutes the most consistent theme of my poetry from its very beginnings. Because it is a matter of which I am conscious, it is possible, however imprecisely, to call it an intellectual position; but it is one which emphasizes the incapacity of reason alone (much though I delight in elegant logic) to comprehend experience, and considers Imagination the chief of human faculties. It must therefore be by the exercise of that faculty that one moves toward faith, and possibly by its failure that one rejects it as delusion. Poems present their testimony as circumstantial evidences, not as closing argument. Where Wallace Stevens says, "God and the imagination are one," I would say that the imagination, which synergizes intellect, emotion and instinct, is the perceptive organ through which it is possible, though not inevitable, to experience God.
“We have stood here since,
in our new life.
We have waited.
He does not return.”
A Tree Telling of Orpheus (1968)
Kontekst: By dawn he was gone.
We have stood here since,
in our new life.
We have waited.
He does not return.
“The wind, the birds,
do not sound poorer but clearer,
recalling our agony, and the way we danced.”
A Tree Telling of Orpheus (1968)
St. Peter and the Angel
Oblique Prayers (1984)
Kontekst: Delivered out of raw continual pain,
smell of darkness, groans of those others
to whom he was chained — unchained, and led
past the sleepers,
door after door silently opening —
out!
A Tree Telling of Orpheus (1968)
Kontekst: And I
in terror
but not in doubt of
what I must do
in anguish, in haste,
wrenched from the earth root after root,
the soil heaving and cracking, the moss tearing asunder —
and behind me the others: my brothers
forgotten since dawn. In the forest
they too had heard,
and were pulling their roots in pain
out of a thousand years' layers of dead leaves,
rolling the rocks away,
breaking themselves
out of
their depths.
O Taste and See : New Poems (1964), The Secret
Kontekst: I love them
for finding what
I can't find, and for loving me
for the line I wrote,
and for forgetting it
so that a thousand times, till death
finds them, they may
discover it again, in other
lines in other
happenings. And for
wanting to know it,
for assuming there is
such a secret, yes,
for that
most of all.
"The Novices" (1960)
Kontekst: To leave the open fields
and enter the forest, that was the rite.
Knowing there was mystery, they could go.
Go back now! And he receded among the multitude of forms, the twists and shadows they saw now, listening to the hum of the world's wood.
A Door in the Hive (1989), Ikon: The Harrowing of Hell
Kontekst: All these He will swiftly lead
to the Paradise road: they are safe.
That done, there must take place that struggle
no human presumes to picture:
living, dying, descending to rescue the just
from shadow, were lesser travails
than this: to break
through earth and stone of the faithless world
back to the cold sepulcher, tearstained
stifling shroud; to break from them
back into breath and heartbeat, and walk
the world again, closed into days and weeks again,
wounds of His anguish open, and Spirit
streaming through every cell of flesh
so that if mortal sight could bear
to perceive it, it would be seen
His mortal flesh was lit from within, now,
and aching for home. He must return,
first, in Divine patience, and know
hunger again, and give
to humble friends the joy
of giving Him food — fish and a honeycomb.
“I long for poems of an inner harmony in utter contrast to the chaos in which they exist.”
Statement on poetics in The New American Poetry (1960) edited by Donald Allen
Kontekst: I long for poems of an inner harmony in utter contrast to the chaos in which they exist. Insofar as poetry has a social function it is to awaken sleepers by other means than shock.
Conversation in Moscow
A Tree Telling of Orpheus (1968)
Kontekst: It is said he made his earth-journey, and lost
what he sought.
It is said they felled him
and cut up his limbs for firewood.
And it is said
his head still sang and was swept out to sea singing.
“I was seed again.
I was fern in the swamp.
I was coal.”
A Tree Telling of Orpheus (1968)
Kontekst: Fire he sang,
that trees fear, and I, a tree, rejoiced in its flames.
New buds broke forth from me though it was full summer.
As though his lyre (now I knew its name)
were both frost and fire, its chords flamed
up to the crown of me.
I was seed again.
I was fern in the swamp.
I was coal.
A Poets View (1984)
Kontekst: Acknowledgement, and celebration, of mystery probably constitutes the most consistent theme of my poetry from its very beginnings. Because it is a matter of which I am conscious, it is possible, however imprecisely, to call it an intellectual position; but it is one which emphasizes the incapacity of reason alone (much though I delight in elegant logic) to comprehend experience, and considers Imagination the chief of human faculties. It must therefore be by the exercise of that faculty that one moves toward faith, and possibly by its failure that one rejects it as delusion. Poems present their testimony as circumstantial evidences, not as closing argument. Where Wallace Stevens says, "God and the imagination are one," I would say that the imagination, which synergizes intellect, emotion and instinct, is the perceptive organ through which it is possible, though not inevitable, to experience God.
A Door in the Hive (1989), Flickering Mind
Kontekst: You are the stream, the fish, the light,
the pulsing shadow.
You the unchanging presence, in whom all
moves and changes.
How can I focus my flickering, perceive
at the fountain's heart
the sapphire I know is there?
“Fire he sang,
that trees fear, and I, a tree, rejoiced in its flames.”
A Tree Telling of Orpheus (1968)
Kontekst: Fire he sang,
that trees fear, and I, a tree, rejoiced in its flames.
New buds broke forth from me though it was full summer.
As though his lyre (now I knew its name)
were both frost and fire, its chords flamed
up to the crown of me.
I was seed again.
I was fern in the swamp.
I was coal.
“And for
wanting to know it,
for assuming there is
such a secret, yes,
for that
most of all.”
O Taste and See : New Poems (1964), The Secret
Kontekst: I love them
for finding what
I can't find, and for loving me
for the line I wrote,
and for forgetting it
so that a thousand times, till death
finds them, they may
discover it again, in other
lines in other
happenings. And for
wanting to know it,
for assuming there is
such a secret, yes,
for that
most of all.
O Taste and See : New Poems (1964), The Secret
Źródło: Poems, 1960-1967
“The world is
not with us enough.
O taste and see.”
This a response to William Wordsworth's famous statement: "The world is too much with us late and soon."
O Taste and See : New Poems (1964)
Bearing the Light
Sands of the Well (1994)
