I’ve always
memorized poetry for its entertainment value. The natural accompaniments to
walking and driving, especially when one is alone, are singing and recitation.
The first poet I chose to memorize on my own, apart from school assignments (“What is so rare as a day in June?”), was T.S. Eliot (a junior high school crush).
Shakespeare, Keats, Joyce, Allen Tate and Howard Nemerov followed. Voluntary
memorization is a tribute and the truest act of criticism.
In Music
at Midnight: The Life and Poetry of George Herbert (University of Chicago
Press, 2014), John Drury describes “Prayer (I)” as “an ecstatic and delicious list”
of prayer’s qualities. The poem induces a “giddy exhilaration,” Drury says, and
I find it so. Perhaps exhilaration is an essential quality in the poems I
choose to memorize. Drury writes:
“The images,
each of them a delicious surprise, come tumbling out headlong – five in a row
in line 9 and twenty-six in all. The sheer joy of it all in a sonnet devoted to
the sober subjects of prayer astonishes its readers. The mystical and the
sensual are old partners.... the happy wit of this scrapbook of little pictures
makes for something less grand, a more accessible and somehow English
sublimity. ‘Something understood’ ties everything up into the pragmatic benefit
of praying: that it settles the mind.”
1 comment:
I've had Drury's book for three years now, but have yet to get into it. Thanks for the reminder!
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