As fiddle lilts its rhymed refrain
it harkens an angelic past.
If only we could now regain
that sweet voice that was ne’er surpassed.
Med’eval times, when hearts were chaste
and men of honor walked this earth,
the words they waxed poetic faced
no chiding for such simple dearth.
These virtues we have not known hence
that lilted forth to grip men’s heart,
in modern days, lie languished since
those held affections play no part.
Where is it that our treasures dwell?
Can wealth be found upon a shore
where epos is an empty shell
and shall not touch us as before?
Ten thousand angels could weep tears
and not more hasten my regret
for feelings treasured through the years
that daily lie unspoken yet.
Mr. Hagerman is a retired Vietnam Veteran, with a college education. He’s been published in Cowboy Poetry Magazine, site anthologies, and currently has a poem in Neologism Poetry Journal. He has been writing poetry for many years and does not limit his art to any particular form, or type. Stephen is currently living in the Great Northwest, he has been accused of having a self-confidence and wit that can be unnerving.
Allow us to be generous.
“Imperfect Moments” is a delightful poem in the manner of John Masefield. Mr. Hagerman’s poem is certainly more traditionally poetic than Sub Cie Leeward’s, e. g., “moonlit nights in trailing seas” or “cut salt spray on freshened breeze”. His abab quatrains in iambic tetrameters are smooth; and I enjoyed his mentioning of actual places, like “Rio Grande” and “Cannes”. In the last stanza, Mr. Hagerman thoughtfully comes to the title, where he notes that there was no “perfect moment”, a nice admission; and yet to counter that he justifies that he did it on his own, alone. This reminds me of Hermann Hesse’s thought that, in the end, each person is, alone.
Of course, what Sub Cie Leeward is trying to incorporate into his tennos are things not commonly found in poetry, much to the chagrin of nearly all NewMillennial critics. But in this, by embracing Modernist experimentation, as well as traditional streams of poetry, he has found little empathy.
I agree with Victorian critic J. W. Mackail in writing about Quintilian:
“His own preference for certain periods and certain manners is well marked. But he never forgot that the object of criticism is to disengage excellencies rather than to censure faults: even his pronounced aversion from the style of Seneca and the authors of the Neronian age does not prevent him from seeing their merits, and giving these ungrudging praise.”
My humble thanks Mr. Cwerbus, This is just another simple narrative and it is even earlier than my original post. While I’m not aware of John Masefield’s work, I am familiar with Hermann Hesse and his philosophy. Yes, in the end we are all alone, and living the life I’ve lead has made me a stronger, more self-confident person. To Mr. Salami’s chargrin I’m sure. I think many put too much emphasis on the structure of a poem when the structure is merely a vehicle. These NewMillennial poets are too obsessed with the structure, or non-structure. What they are writing is the same thing I’ve seen novice writers producing for eons. If you visit any Facebook poetry page you can find the same thing Mr. Salami is writing and, in many cases, is superior to his work. To lament the passing of the local bookstore and then mention that his books are available online is an absurdity upon absurdity. No, If a poet laureate holds up a poem and says THIS is what poetry should be, I guarantee you they will not be talking about the structure. Metered verse has long had its structures defined, the task of any good poet is to find and use the structure that best suits the message he/she is trying to convey.
I have just read this wonderful thread from beginning to end. I was unsure quite what to think at the start and even more unsure at the finish! But I do think Mr Hagerman has summed it all up beautifully in his final sentence. If I may draw the comparison – the singing of (Sir) Rod Stewart may be far from perfect but it sure can touch the heart at times! My own conclusion? Over analysis causes paralysis.
Thank you Rod, this has been a well admired allegory by many over the years and it sufficiently expresses my love for poetry. Mr Frost wrote in his first book of poetry:
“Originality and initiative are what I ask for my country. For myself the originality need be no more than the freshness of a poem run in the way I have described: from delight to wisdom. The figure is the same as for love. Like a piece of ice on a hot stove the poem must ride on its own melting.”— Robert Frost
Indeed! If you understand what he’s telling you, this is a good analogy of what poetry is supposed to be. It , as many think, is not for/about you, it is about what you can get others to see. I think Frost (the codling moth) had a unique way of expressing himself. I especially like his use of personification to tell his story in some of his most loved works. Whatever direction this genre is headed today, I could not say.