Awhile ago, I included a poem as part of one of these blog posts: Epitaph In An Elevator. It was hardly an example of shining verse, being unsophisticated in its composition and stark in the emotion it presented through the medium of gossiping voices. And yet that simple, naïve little poem received multiple views and likes by readers.
Since then, I’ve spent a good deal of time pondering why a work so basic and unpretentious “spoke” to so many people.
Considering this, I recalled a line from a Mary Stewart novel, Nine Coaches Waiting. Ms. Stewart’s light mystery/romance novels, written at the end of the 20th century, were (and are) unappreciated gems; literary works of art, beautifully-researched, marvelously plotted, with vivid, memorable characters. One of the things I recall most about her books, though, is that they often included quotes from classic poetry; lines that enhanced and augmented the story. In the mystery Nine Coaches Waiting, the main character, recalling her late poet father, recollects and confirms the lessons she learned from him about poetry being “awfully good material to think with”.
Truer words were never spoken. Poetry—good poetry—brilliantly twists language to evoke emotion, and consequently reaches out to us in the hours when our feelings brim close to the surface. As I pointed out in the post Mathematics Makes a…What?!, the very best poetry tosses all the rules of grammar right out the window, superbly weaving words to fit feeling. Our minds react with the abrupt recognition, “Yes! Yes, that’s how I feel!” and we are immediately connected to something larger than ourselves; a universal knowledge, a link to all humanity.
So as I sat considering why it might be that my very un-brilliant and simple poem reached out slender fingers to touch so many readers, I finally realized that many of my own favorite poems—memorized, and recited to myself numerous times–are also incredibly simple. They are brief and straightforward, and two, especially, have an almost O’Henry-ish twist to the final lines. (And I desperately hope they are not under copyright, for I intend to quote them here, trusting that their very age means these works are in the public domain, and apologizing if they are not. A search for the terms, “How to determine if a poem is under copyright” produced few useable results, other than that poems published before 1923, which these certainly are, are likely to be public domain works).
Both poems, perhaps not surprisingly, concern the most difficult emotion of all: grief.
Lines By Taj Mahomed
This passion is but an ember
Of a Sun, of a Fire, long set;
I could not live and remember,
And so I love and forget.
You say, and the tone is fretful,
That my mourning days were few,
You call me over forgetful–
My God, if you only knew!
She Dwelt among the Untrodden Ways
She dwelt among the untrodden ways
Beside the springs of Dove,
A Maid whom there were none to praise
And very few to love:
A violet by a mossy stone
Half hidden from the eye!
—Fair as a star, when only one
Is shining in the sky.
She lived unknown, and few could know
When Lucy ceased to be;
But she is in her grave, and, oh,
The difference to me!
Poetry is very good material to think with. And for that reason, no matter how poorly you or anyone else believes your works to be, continue writing it–because any words that evoke human feeling connect us to a larger view of humanity. And in today’s sad and hate-filled world, that cannot but help be a good thing.