Model poems

THE MUSE, disgusted at an age and clime
Barren of every glorious theme,
In distant lands now waits a better time,
Producing subjects worthy fame.

In happy climes, where from the genial sun
And virgin earth such scenes ensue,
The force of art by nature seems outdone,
And fancied beauties by the true;

In happy climes, the seat of innocence,
Where nature guides and virtue rules,
Where men shall not impose for truth and sense
The pedantry of courts and schools:

There shall be sung another golden age,
The rise of empire and of arts,
The good and great inspiring epic rage,
The wisest heads and noblest hearts.

Not such as Europe breeds in her decay;
Such as she bred when fresh and young,
When heavenly flame did animate her clay,
By future poets shall be sung.

Westward the course of empire takes its way;
The first four acts already past,
A fifth shall close the drama with the day;
Time’s noblest offspring is the last.

Published 1728 by George Berkeley (1685-1753)

Of all the classically trained and educated members of the ruling class of mid-twentieth America, Archibald MacLeish, for all his other distinctions, is the only one to collaborate with Bob Dylan on a Broadway musical (which Dylan pulled out of.)

This poem is the ultimate utility poem because it is made up of its own blueprint!

Ars Poetica

A poem should be palpable and mute
As a globed fruit

Dumb
As old medallions to the thumb,

Silent as the sleeve-worn stone
Of casement ledges where the moss has grown –

A poem should be wordless
As the flight of birds.

*

A poem should be motionless in time
As the moon climbs,

Leaving, as the moon releases
Twig by twig the night-entangled trees,

Leaving, as the moon behind the winter leaves,
Memory by memory the mind –

A poem should be motionless in time
As the moon climbs.

*

A poem should be equal to:
Not true.

For all the history of grief
An empty doorway and a maple leaf.

For love
The leaning grasses and two lights above the sea –

A poem should not mean
But be.

Archibald MacLeish

According to Harold Bloom (1930-2019), Robert Frost deemed Ralph Waldo Emerson’s poem Uriel to be “the best Western poem yet.”

Uriel

IT fell in the ancient periods
Which the brooding soul surveys,
Or ever the wild Time coin’d itself
Into calendar months and days.

This was the lapse of Uriel,
Which in Paradise befell.
Once, among the Pleiads walking,
Sayd overheard the young gods talking;
And the treason, too long pent,
To his ears was evident.
The young deities discuss’d
Laws of form, and metre just,
Orb, quintessence, and sunbeams,
What subsisteth, and what seems.
One, with low tones that decide,
And doubt and reverend use defied,
With a look that solved the sphere,
And stirr’d the devils everywhere,
Gave his sentiment divine
Against the being of a line.
‘Line in nature is not found;
Unit and universe are round;
In vain produced, all rays return;
Evil will bless, and ice will burn.’
As Uriel spoke with piercing eye,
A shudder ran around the sky;
The stern old war-gods shook their heads;
The seraphs frown’d from myrtle-beds;
Seem’d to the holy festival
The rash word boded ill to all;
The balance-beam of Fate was bent;
The bounds of good and ill were rent;
Strong Hades could not keep his own,
But all slid to confusion.

A sad self-knowledge withering fell
On the beauty of Uriel;
In heaven once eminent, the god
Withdrew that hour into his cloud;
Whether doom’d to long gyration
In the sea of generation,
Or by knowledge grown too bright
To hit the nerve of feebler sight.
Straightway a forgetting wind
Stole over the celestial kind,
And their lips the secret kept,
If in ashes the fire-seed slept.
But, now and then, truth-speaking things
Shamed the angels’ veiling wings;
And, shrilling from the solar course,
Or from fruit of chemic force,
Procession of a soul in matter,
Or the speeding change of water,
Or out of the good of evil born,
Came Uriel’s voice of cherub scorn,
And a blush tinged the upper sky,
And the gods shook, they knew not why.

Ralph Waldo Emerson

To begin this collection of Ideal Poems, here is one by Robert Frost (1874-1963). Louise Bogan (1897-1970), who reviewed poetry for the New Yorker for forty years, wrote this: The Pasture, “… is a love song, among other things – surely one of the loveliest in the language.”

The Pasture

I’m going out to clean the pasture spring;
I’ll only stop to rake the leaves away
(And wait to watch the water clear, I may):
I sha’n’t be gone long.—You come too.

I’m going out to fetch the little calf
That’s standing by the mother. It’s so young,
It totters when she licks it with her tongue.
I sha’n’t be gone long.—You come too.

Robert Frost

The ideal aspect of this is the blunt invitation to the reader to accompany the poet. This is a rare case where a poem that opens with “I” fairly embraces the reader. Most “I”-opening poems make my eyes water with pity for a poor self-absorbed poet.