Meandering Musings: The Beaver Moon and the “Beasts” of Richard Wilbur (with Some Shakespeare and Calvin and Hobbes Thrown In)

And here are some photos of November’s full moon, the Beaver Moon, and the poem of which it reminds me.

(See all the stars that show up in that shot?)

 

Sometimes my camera gets dramatic. On some of the options, the camera is stuck in a mode that takes six photos with different light settings. I don’t know why. When the pandemic is over, I’ll go back to the camera shop and ask someone to explain it to me.

 

A classic full moon photo. Lots of stars in this photo, too.

 

 

 

This photo comes closest to showing the colour of the moon when it rose.

 

 

With the moon in the background, the pine needles look soft, like the feathers on a gull, or perhaps the fur of a werewolf’s face.

((O))((O))((O))((O))((O))((O))((O))((O))((O))((O))((O))((O))
(Trigger warning: the poem and following comments discuss violence, death, images of assault, and rape.)

“Beasts,” by Richard Wilbur,* is one of the poems that I read several times a year — usually during the full moon. The poem fascinates me. I get swept up in its rhythms and the inexorable flow that rarely stops, even for the end of a stanza. Wilbur’s startling juxtaposition of concepts (I won’t give examples because that would be the poetic equivalent of spoilers) doesn’t quite reach Calvin-and-Hobbesian levels,

Swiped from https://arnoldzwicky.org/2012/08/30/to-long-grass/

but it has its own originality. The poem puts my spine on alert and fills the suburban darkness outside my window with more wild things than Maurice Sendak could imagine.

BEASTS

Beasts in their major freedom
Slumber in peace tonight. The gull on his ledge
Dreams in the guts of himself the moon-plucked waves below,
And the sunfish leans on a stone, slept
By the lyric water,

In which the spotless feet
Of deer make dulcet splashes, and to which
The ripped mouse, safe in the owl’s talon, cries
Concordance. Here there is no such harm
And no such darkness

As the selfsame moon observes
Where, warped in window-glass, it sponsors now
The werewolf’s painful change. Turning his head away
On the sweaty bolster, he tries to remember
The mood of manhood,

But lies at last, as always,
Letting it happen, the fierce fur soft to his face,
Hearing with sharper ears the wind’s exciting minors,
The leaves’ panic, and the degradation
Of the heavy streams.

Meantime, at high windows
Far from thicket and pad-fall, suitors of excellence
Sigh and turn from their work to construe again the painful
Beauty of heaven, the lucid moon
And the risen hunter,

Making such dreams for men
As told will break their hearts as always, bringing
Monsters into the city, crows on the public statues,
Navies fed to the fish in the dark
Unbridled waters.

– RICHARD WILBUR

The poem is like a haunted house at a carnival, if it turned out that the haunts were real and the exit led into the prologue of Longfellow’s Evangeline.** You know something is waiting to leap out around the bends, but not what, or when it will spring. The first line, “Beasts in their major freedom,” conjures the image of beasts on the prowl, exercising their rights to wander the landscape of the poem and of the poet’s imagination, but in the next line we learn that they “Slumber in peace tonight.” (It’s a bit like that song, “The Lion Sleeps Tonight.” You think it’s going to be about a mighty lion doing mighty-lion things like terrorizing the jungle and the village, but noooo — it’s about how everything is so peaceful and copacetic that even the king of cats decides to take a nap. Bit of a let-down, really.)

From that initial rush of tension and subsequent calming, the poem slowly builds the tension back up again. The first specific “beast” we encounter is “the gull on his ledge,” dreaming, but his dreams are lodged not in his avian mind, but “in the guts of himself” — an image of imagined self-evisceration, of auto-haruspicy. Note that the gull doesn’t dream of “the  moon-plucked waves below. Rather, he “dreams…the moon-plucked waves”; the waves are the direct object of “dreams.” In an act of creation, the gull somnolently envisions the ocean into being, though we aren’t told whether he saw that it was good.

In a similar syntactical maneuver, the stone in line four, the one the sunfish uses for a pillow, is “slept/ By the lyric water.” The gull dreams the waves, and the poetry of the water dreams the stone, and stone supports the fish. Wilbur’s poem ebbs and flows in a weaving that shuttles the reader forward and back and around, but never really stops moving.

We are not allowed to stop for breath at the end of the stanza, only to breathe long enough to plunge into the next with “the spotless feet/ Of deer.” The momentary charm of the “dulcet splashes,” like the the beasts slumbering in peace, puts us at our ease for another moment, but that calm is again pulled out from us as “The ripped mouse, safe in the owl’s talon, cries/Concordance.” And here I think of Isabella, in Measure for Measure, listening to Angelo’s demand that she “Fit thy consent to my sharp appetite;/ Lay by all nicety and prolixious blushes,/ That banish what they sue for,” (MFM, II. iv). The mouse, already torn open, probably being consumed alive while “safe in the owl’s talon” (and here I sense no irony, but feel that there is some nuance beyond shock and contrast I am missing),   fits its consent to the owl’s sharp appetite and acknowledges the barbaric harmony of its own destruction.

And what are we to do with the two “suches” — “no such harm/ And no such darkness” — that end the stanza? Our understanding of to what they refer is delayed until the middle of the next, a delay that once again propels us through the poem as we search for the way to the end of understanding. Between us and the conceit we find again the moon, the one that “plucked” the waves in line three and is responsible for the tides that ferry us along. The moon here is mediated by the glass of a window, a barrier between the moon and the interior of the room. that parallels the barrier that the moon provides between us and the meaning of the sentence. The “warping” of the moon also emphasizes the weaving motion that structures the poem, makes it the foundational thread upon which the tapestry will come alive.

Despite the effect of the glass, the distancing of the moon, the distortion to which our lunary satellite is subjected, we find that its power is not watered down. That “selfsame moon,” on whose light we glide into the bedroom, still “sponsors now/ The werewolf’s painful change.” And here we come to the referent for those suches in the previous stanza. There is no harm, no darkness, to compare with the change the man on the bolster is forced to undergo. The metamorphosis to the wolf is simultaneously a betrayal of and a return to different versions of a true self, a change that is less super than natural.

We see the man, like the mouse, already in pain, struggling to retain his former life, his “mood of manhood,” but (again like the mouse), he finally accedes to the inevitable and “lies at last, as always,/ Letting it happen,” a line that disturbingly echoes old “advice” that used to be given (and may still be, for what I know) to women about how to “keep themselves safe” while being raped. The poem takes us through the familiar pattern of comfort (“the fierce fur soft to his face”), mounting tension (“Hearing with sharper ears the wind’s exciting minors”), to threat (“The leaves’ panic”), and finally to violence (“the degradation/ Of the heavy streams.”) Note the return to water, the throw of the shuttle back to where we began.

The next stanza leads us back to a window, but here we start inside, looking out:

Meantime, at high windows
Far from thicket and pad-fall, suitors of excellence
Sigh and turn from their work to construe again the painful
Beauty of heaven, the lucid moon
And the risen hunter,

The same themes are iterated here: the division and refusion of man (all the beasts of the poem are male) and the “major freedom” of the worlds of nature and the imagination. The latter has already invaded the minds of these “suitors of excellence”; we learn in the next stanza that the suitors are “Making such dreams for men/ As told will break their hearts as always.” We started the poem with gull-dreams making the ocean, where life began, and circle around to the dreams of men gulling them into thinking they have left the wild behind. But the truth is that all their art, all their dreams, are merely

bringing
Monsters into the city, crows on the public statues,
Navies fed to the fish in the dark
Unbridled waters.

It is the thoughts and fancies of these men that let the wild back into civilization, “bringing/ Monsters into the city, crows on the public statues,/ Navies fed to the fish in the dark/ Unbridled waters.”

And we return to the untamed beasts, to the “unbridled waters,” to all that is out of our control and will, in the end, swallow us whole and force us to “suffer a sea-change/ Into something rich and strange.”**** There is little left for us to do but cry concordance.

Throughout the poem, we readers are placed, like the glass, between the catalytic serenity of the moon and the lunacy and violence its light engenders. As readers, we stand (we think) at a distance, but the rhythms and cadences of the lines sweep us into the flow, into “the degradation/ Of the heavy streams,” and maybe out into the “unbridled waters.” That is the power of a well-wrought poem. There is little left for us to do but cry concordance.

        

This is what I’m thinking about the poem right now. Next month I might think something else — in an inverse Petruchio, my mind changes even as the moon.*** This poem is woven into my own imagination and it rises with every full moon, sponsors changes in my mind, and inspires dreams in the guts my own self.

Am I the only one waiting for the howling to begin?

Find the “Leave a Comment” option over on the left and let me know.
________________________________

*I snagged the text from here.

**“This is the forest primeval. The murmuring pines and the hemlocks,
Bearded with moss, and in garments green, indistinct in the twilight,
Stand like Druids of eld, with voices sad and prophetic,
Stand like harpers hoar, with beards that rest on their bosoms.
Loud from its rocky caverns, the deep-voiced neighboring ocean
Speaks, and in accents disconsolate answers the wail of the forest.

“This is the forest primeval; but where are the hearts that beneath it
Leaped like the roe, when he hears in the woodland the voice of the huntsman?”

***PetruchioI say it is the moon.
Katherina: I know it is the moon.
PetruchioNay, then you lie. It is the blessèd sun.
Katherina: Then, God be blessed, it is the blessèd sun,
But sun it is not when you say it is not,
And the moon changes even as your mind.
What you will have it named, even that it is,
And so it shall be so for Katherine.
(The Taming of the Shrew, IV. v.)

****
Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes:
Nothing of him that doth fade,
But doth suffer a sea-change
Into something rich and strange.
Sea-nymphs hourly ring his knell:
Ding-dong.
Hark! now I hear them,—ding-dong, bell.
(The Tempest, I. ii)

 

Inktober 2020: Day Nine — Throw

Today’s word — throw — was difficult because my already unsatisfactory drawing skills don’t extend to comprehensible depictions of verbs. My first thought was to go with throw, as in throw rug or throw blanket, but I couldn’t see that going anywhere. So I pulled up the thesaurus and learned that throw also refers to a potter’s wheel. That option seemed much more promising than a blanket. So here we are:

 

 

Inktober 2020: Day Seven — Fancy

“Tell me where is fancy bred,
Or in the heart or in the head?
How begot, how nourished?”

(Shakespeare, Merchant of Venice, III. ii. 63-65.)

If one is a rodent, I would guess Fancy is bred in the better class of trash can. Remember Templeton at the Fair?

Inktober 2020: Day Three — Bulky

Having bulky come after wisp was a challenge, but I liked the inherent contradiction and the conceptual contrast. The art teacher I had in junior and then again in senior high school (Mr. Kinney moved to the high school when my class did; it was not for want of his trying to teach me that I did not become an artist) always emphasized the importance of contrast: “Lights on darks! Darks on lights! Contrast! Contrast!” — at which point, once, one of the guys jumped up and yelled, “Rah! Rah! Rah!” Good thing Mr. Kinney had a sense of humour.

Inktober 2020: Day One — Fish

It’s Inktober again. I rather hate to start with this, but I am aware of the controversy swirling around Jake Parker right now.¹ Mostly I agree with the Well-Appointed Desk’s take on the matter (see below).

I had hoped to have more time to devote to this year’s Inktober, to write Bridget’s side of the correspondence from last year’s story, but I need a less consuming project. So I’m going to take each day’s prompt and use it in a line of a poem (no, I’m not really poet, but I thought I’d give writing a poem a try), and “illuminate” the page in the margins as I go along. Here’s the first day’s line and mini-illustration:

Stay tuned to see if I can pull this off. I’ve already messed up by leaving out a word in the first word. I had to glue a strip of paper over the first line to write the proper version. Maybe I can blot tomorrow’s line or spill water on the page!

 

  1. See Teoh Yi Chie at Parka Blogs; The Well-Appointed Desk

Thirty Reasons to Vote: #9

Warning: This post quotes crude and vulgar language and discusses possibly triggering subjects such as assault.

This post is a little late because, after scrambling all Monday to get the garden ready for a seventy-degree drop in temperature, from dry nineties to snowy twenties (that’s Fahrenheit), by deep-watering trees and re-potting plants that need to be indoors and turning our patio table into a make-shift greenhouse, and then getting to go to the dentist the day after, I had a serious PEM (Post-Exertion Malaise) episode and staring at the computer was more than I could do. But here it is now.

Please take a moment to think about what it means to be “decent.” It’s a word, a concept that has been demoted in such a way that we tend to hear it as “barely acceptable.” It has become, at best, the faintest of praise. But it’s a word we need to restore to its former power. We need to remember how essential decency is. On that quality we found trust, faith in each other, confidence in our neighbours, reliance on the larger society, and conviction that our government, most of the time, looks out for the interests of our states and country.

Decency asks not just that we are able to trust others around us; it also asks us to look beyond ourselves. Perhaps we don’t feel threatened by a man who talks about grabbing women by the pussy,¹ who publicly mocks the disabled and is working to cut disability benefits,² but think about the people who have been and continue to subjected to the damage these attitudes inflict. And now we know that Trump was aware of how lethal and contagious the novel coronavirus was back in February and chose to let thousands and thousands die.³ COVID-19 is too virulent for any effort to have saved everyone; no one is claiming that Trump could have prevented every death that we have suffered. But the deaths — and the economic impact — would have been far, far fewer if the man in the Oval Office were a decent human being and had been honest about the dangers we were facing, and if others in the Senate and many Gubernatorial offices had not chosen to remain indecently silent.

Vote — not for perfection, not for saintliness, but for decency.
***********************************

  1. YouTube. Access Hollywood Tape. “Grab ’em by the pussy Donald Trump.” January 21, 2017.
    TIME Magazine. “Our President Has Always Degraded Women — And We’ve Always Let Him.” December 5, 2017.
  2. YouTube. CNN. “Trump Mocks Reporter With Disability.” November 25, 2015.
    USA Today. “Trump Administration cuts to Social Security disability benefits among the cruelest.” January 29, 2020.
  3. Maggie Haberman. New York Times. “Trump Admits Downplaying the Virus Knowing It Was ‘Deadly Stuff’.” September 9, 2020.
    Susan Glasser. The New Yorker. “Bob Woodward Finally Got Trump To Tell The Truth About COVID-19.” September 11, 2020.

 

Thirty Reasons to Vote: #4

 

Lamy Crystal Azurite

Vote to elect representatives who will end voter suppression and will support just redistricting. When we deny people their voice, their vote, then protesting becomes the only reasonable option.

Here in Colorado, we have new laws designed to eliminate, as much as possible, the partisan gerrymandering that has impeded fair elections. A panel of diverse members will take over the redistricting. We hope to set an example for other states struggling for more equitable elections.

  1. ACLU “Block the Vote: Voter Suppression in 2020.” February 3, 2020.
  2. TIME “Voter Suppression Is Still One of the Greatest Obstacles to a More Just America.” June 12, 2020.
  3. The Colorado Independent “The High Court punts on partisan gerrymandering. Colorado’s new redistricting laws could offer a model for the nation.” July 5,  2019. Also “Amendments Y and Z to take politics out of redistricting: Here’s how they’d work.” October 18, 2018.

Inktober 2019, Day Nineteen: The Oracular and Confounding…

Inktober Prompt: Sling
GoldspotPrompt: Heart

19 October, 2019

Bridget, dear Bridget,

You are ~ you always are ~ kindness itself. Even with our long friendship, I don’t know how you tolerate my moods. I also don’t know I’d tolerate the world without you. You are the one person who will never sling my heart around.

Dr. Torres seems genuinely to want to help, but she is Sibyllic in her utterances. The riddle is in the parted ash? What might that mean? Are you as confused as

Your puzzled,

Hannah?

Six Months

It’s been six months, as of today, since my mother died. I feel like I’m in a Greek myth-Freaky Friday mash-up: I’m Persephone waiting for Ceres to come back after her half-year in the Underworld. It ain’t gonna happen, but I still rather expect Mom to show up and want to know why we haven’t finished fixing up the house.

Oh well.

To mark the day, here’s one of my mother’s favourite poems, “One Perfect Rose,” by one of her favourite authors, Dorothy Parker:

 

 

A single flow’r he sent me, since we met.
All tenderly his messenger he chose;
Deep-hearted, pure, with scented dew still wet –
One perfect rose.

I knew the language of the floweret;
‘My fragile leaves,’ it said, ‘his heart enclose.’
Love long has taken for his amulet
One perfect rose.

Why is it no one ever sent me yet
One perfect limousine, do you suppose?
Ah no, it’s always just my luck to get
One perfect rose.

(https://www.poemhunter.com/poem/one-perfect-rose/)

Veterans’ Day 2019: Remembering All Who Have Served (especially my uncle)

Arthur Feiertag

To all our veterans, wounded warriors, first responders, their families, and others who serve or have served: thank you for your sacrifices and dedication. I can’t pretend to understand what you have given or given up for our country, but you have my gratitude and respect. If any of you care to write about your service, I will read your accounts.

Many years ago, I sent my uncle and aunt a notebook and a pen each. I wanted to know about their lives, to learn the stories they hadn’t told. My uncle had been trained as a medic in World War II (he went on to become a fantastic optometrist), been captured by the Germans almost as soon as he arrived, and, like many of his generation, had refused to talk about his experiences. I hoped a notebook might elicit some more of his history.

I didn’t hear back from either my aunt or uncle about the package until I was visiting my parents and my dad called his brother. And here let me mention that my uncle was from New Jersey, and he exemplified almost every stereotype about denizens of the Garden State that is known to humanity. Generally speaking, anything that popped into his head, popped out of his mouth. Once, when he and my aunt were on vacation with my parents, a tour bus pulled up and let out a group of Japanese tourists. In a move that made my father want to sink into the earth, my uncle took one look at the new-comers, marched over to the nearest visitor, held out his camera, and demanded to know if it was a good one. Fortunately, none of the group seemed to understand English — or my uncle’s version of it anyway — or were polite enough to pretend they didn’t. And now you know why my father moved away from “Joisey.”

So that day at my parents’, I got on the phone with my uncle, who lit right in: “LISTEN! WHADDYOU SENT ME THAT NOTEBOOK FOR? Nobody wants to read about my life. Nobody wants to hear about that stuff. Nobody wants to hear about…” and he then spent about an hour telling all the “stuff” nobody would ever want to hear. I was completely unprepared, had no paper, no writing instrument, no way to record all the personal history he rattled off at warp speed. 

The central story of my uncle’s war is that of his capture. It happened within a few days — maybe even the first day — after he was sent over. When he and the other POWs were brought to the prison camp, a British officer was helping process the new arrivals. When my uncle approached the table, the officer asked for his name, rank, serial number, and, as was usual then, his religion. My uncle said, “Jewish.”

“No, you’re not,” the officer told him. My uncle wasn’t stupid, but he was young, and didn’t understand at first. So he replied,

“Yes, I’m Jewish.” The officer looked at him hard and repeated,

No, you’re not. Lose your dog-tags!” That officer saved my uncle, and I suspect a lot of other young men, from dying in a gas chamber. 

I wish I knew that officer’s name. I wish I knew what happened to him. I hope he made it home and managed to live well and happily. My uncle did. (Despite his foibles, my uncle was a decent guy. He and my aunt lived a few blocks away from my grandparents, took care of them, raised a daughter, ran a business, and was gregarious and out-going.) He died a little less than a year ago at the age of ninety-six. I wish I had managed to write down his history that day on the phone. 

Anyone wishing to support and honour those who serve or have served might consider writing a letter to one of these folks. An e-mail from Endless Pens reminded me about Operation Gratitude, an organization that collects letters for deployed troops, veterans, new recruits, wounded heroes, caregivers, and first responders. Read the instructions carefully — there are rules — and if you write, maybe you’ll get someone’s history in reply.