Your Hands within My Hands Are Deeds: Poems of Love in "The Bridge"

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1 Iow Review Volume 4 Issue 1 Winter Article Your Hnds within My Hnds Are Deeds: Poems of Love in " Bridge" Edwrd Brunner Follow this nd dditionl works t: Prt of Cretive Writing Commons Recommended Cittion Brunner, Edwrd. "Your Hnds within My Hnds Are Deeds: Poems of Love in " Bridge"." Iow Review 4.1 (1973): Web. Avilble t: This Contents is brought you for free nd open ccess by Iow Reserch Online. It hs been ccepted for inclusion in Iow Review by n uthorized dministrr of Iow Reserch Online. For more informtion, plese contct lib-ir@uiow.edu.

2 "Your Hnds Within My Hnds Are Deeds": Poems of Love in Bridge Edwrd Brunner Bridge is gret ccessible surprise of modern poetry: its lines rech outwrd overtke nd new sweepingly encompss vists even s its moves poet out of n wreness of wht he hs been, of where he hs been before. And some extent, Bridge remins unrivlled by or poems of concerted ction, or poems tht ffirm precise wy for one move. re hve been long poems, such s "Song of Open Rod," luring us outwrd wrd dim, lovely golden ge of future. Whitmn rocks with us till our bodies melt wy, till we go up, immortl, in smoke. And re hve been long poems hugging firm nd solid shore of pst, such s Wste Lnd. Eliot mkes our viewing so keen, with ll our disstisfctions intct, tht we re weighed down with our own shrpness. But few poems ttempt stnd so fully in present, in light of poet's own intelligence, s Bridge. Few spire such rise of optimism stemming from ll tht hs gone before. Wht poet drws out for reders of Bridge is n ct of continuity, nd continuity of poem is its most remrkble triumph. As person, s son, s citizen, Hrt Crne hd ll resons in world feel he hd no future. He hd mde no stedy home for himself, he hd found no one single love, nd in brbric ge, n ge he clled "pplling nd dull t sme time,"1 he hd tken up course of complex lyric poetry. But poet of Bridge will mke up for ll this?even s he stys close dngers of flling prt, close difficulties of holding oneself ger. poet of Bridge is most concerned with struggle relize fu ture for himself in his own poem, discover direction tht will free him write more poetry. But only wy such direction cn tke shpe is through poet's encompssing pst of his poem, it crrying with him, trns formed, s he moves beyond it. This chievement, perhps in n individul more ssured of his future, could hve been ll ptterned formul, revolving round projection of some vlue from pst in future. This would hve conditioned future, however, s cer redy-mde, fully wrpped up, tin, more gone by thn pst. Poeticlly, results would hve been un 1 Quoted in Michel Hmburger: Truth of Poetry, London, 1969, p From Poet's Voction (ed. Willim Burford nd Chrispher Middlen), Austin, Texs, 1967, p. 52. entire quote is: "A loose t ll period ends, without pprent direction of ny sort. In some wys most mzing ge re ever ws. Applling nd dull t sme time." 105 Criticism University of Iow is collborting with JSTOR digitize, preserve, nd extend ccess Iow Review

3 berbly nostlgic? very qulity poet of Bridge insistently overcome. By spurning tempttion conceive of future s though it could be pst mde over, writes more poet poems more frustrting, yet vitlly live, thn his critics hve so fr cknowledged. Wht Bridge clls for is tke up both pst nd future s living sequence of present. poems emphsize vitlity tht cn come in present if one is in present, yet bove it, relting one's pst wrd future. This ct of connecting pst future involves, most of ll, willingness listen oneself while writ ing. To write is ctch one's impressions, recll those impressions s full of implictions nd relize those so implictions tht y give bering one's future. poet experiences, discovers implictions of his experience, n cts upon his And since discovery. ech ction cretes new with experience new implictions, poet's thinking remins compelling, unbroken. result is poem s living present, ll movement of poem relted integrlly movement within it. poet is not celebrnt of golden future or perfect pst: he stnds in present, mker of living present in which pst is thought through in future. continuity of Bridge springs from nothing more thn ctive mind of poet, holding his poems ger line by line nd moment by mo ment through connections he mkes. And while it is continuity chieved through lnguge?lnguge infused with connective feeling nd tninking of poet?it is continuity not without implictions for reders of Bridge. For Americn culture of which poet writes my rest in void. Americn pst, s imged by men like Columbus, ws glorious; Columbus, in "Ave Mri," is not only stirring dventurer but mn pssionte of con science: "?Rush down nd plenitude, you shll see / Isih counting fm ine on this lee!" And t one time, s poet stresses in " Dnce," country ws virginl, in cre of Indin whose bounding imgintion quickened ll tht he sw, mking lnd in womn, sun in mn. But dy, seprte individuls brought ger in "Quker Hill," pst simply does not exist: This ws Promised Lnd, nd still it is To persusive suburbn lnd gent In bootleg rodhouses where gin fizz Bubbles in time Hollywood's new love-nest pgent. lnd hs been rped, sold nd sold gin; nd fmine tht hs fllen on country drives people clutch n immedite present where Hollywood set of effervescent illusions cn become reflection of new idel. idels of pst pper hve been forgotten, nd with brekdown of idels re goes of corresponding collpse continuity. poet's im is not, however, return idels of pst but chieve continuity? continuity tht commits one present. poet of Bridge hs no progrm for such commitment; rr, his need for con cts 106

4 tinuity plces him with those who re lost, like lnd gent, t sme time s it suggests he must try brek from sense of wek, immedite present write poems tht will crete future for himself. Not ll poems in Bridge chieve brekthrough, though ll of m spire it. Becuse poet, in his very lnguge, is so bent upon mking connections through his in telligence rr thn through set scheme or pttern, no poem in Bridge feels out of uch with poet's desire crete living present. But t times, his emphsis flls hevily on distinction between pst nd present? dis tinction prlleled by lpse in strength of his lnguge?nd in two of lst poems be written, "Quker Hill" nd "Cpe Htters," he uses rich ness of pst expose shllowness of present. Whitmn's "Se-eyes nd tidl, undenying, bright with myth" re set off by eyes of eroplne pilots, eyes up in ir, eyes unfocussed on nything, "bicrbonted white with speed." Or times, s in "Cutty Srk" nd " River," his emphsis hits on reltion between pst nd present. pst, in those poems, is not truly s remote s might seem pprent. From listening broken reveries of derelict silor, "O life's geyser?beutiful?my lungs? / No?I cn't live on lnd!" poet cn put ger dys of clipper ships, of rces Chin Cthy. And "20th Century Limited," for ll its hste, is still not s evnes cent s cn slow down eroplne; poet trin, throw open win dows nd let in "River's musk /?As though wters bred tht you might know / Memphis Johnny, Stembot Bill, Missouri Joe." Still or times, in finest poems of Bridge, poet relizes shpe of his subject primrily through ction of his lnguge; in se poems, poet brings pst in present in order sense future direction. In se poems poet relizes tht wht is bsent, wht is lcking, does not become cuse for despir but cn be mde in sense of wht is needed, of wht is wnted. poet understnds his own experience nd sees reltion between his own experience nd experience of ors nd cn bring in his lnguge new kind of experience tht in promises continuity, future reching tht is bsed upon n wreness in present of wht present is in need of. Such writing tkes note of wekness in immedite present, in present wrought by contemporry culture, nd cts push beyond it, crete living present of which pst nd future re integrl prts. se poems be come ll vitl connecting, ll continuity, ll listening nd creting which reder is pressed follow. y re truly works suffused with presence of poet, ech moment in m formed in response moment nd previous seeded with possibilities of next moment. To grsp push of ny one line is be pulled in whole poem, for so interconnected is one moment, being living fusion of pst of poem bending wrd future of poem, tht reder seems both inside nd outside moment, both ex periencing moment s well s sensing its origin nd wht lies beyond it. In se poems, Bridge rises itself powerful unity: lines re pcked till bursting with implictions tht foreshdow nd recollect, with presence of poet's ctive, shping mind contining ll energy of poem. Through such work, poet sets stndrd by which ll of Bridge my be judged. 107 Criticism

5 1 Nothing more firmly estblishes chrcter of poet of Bridge thn opening stnzs of poet's invoction muse, "Proem: To Brooklyn Bridge." Tken with n objective eye, with n eye detched from Proem, few rtifcts seem more strngely fitted ply muse thn Brooklyn Bridge. Why not insted more immeditely identifible inspirtion, such s Sttue of Liberty? She holds rch of light, she offers welcome for gotten msses, she wers t gtewy country?se qulities ll pro vide her with ttrctions meningful poet n beginning epic of Americ.2 Yet she would hve been, finlly, conventionl choice for muse. poet's Tht poet ok, insted, Brooklyn Bridge?his own mens of ''going nd fro" his home nd Mnhttn?strongly presses on personl in poem. poet will not, here s elsewhere, depend upon wht hs fixed nd settled mening for n esy mjority of people. He knows he will not hve wht R. P. Blckmur, in his essy on Crne, sid Budelire benefitted from: "A well-r ticulted version of Ctholic Church control morl spect of his men ings."3 control of poet will not come from outside his lnguge; pproch of poet, wy he moves from one thing next, is wht reder must lern follow. Only n cn poetry be live in ct. Even Brooklyn Bridge does not pper, in "Proem," s distinct from pproch of poet. It does not pper suddenly; it must, s with trdi tionl muse, be invoked. But when it is invoked nd does proclim itself in fourth stnz, it no longer hs sttus of n object?s it might hve hd in title of Proem. Unlike goddess trditionlly invoked n by epicl poet, wht hs been invoked cnnot be seprted from poet's ct of in it. s voking bridge ppers poet's response certin needs he hs relized in first three stnzs nd it is recognizble primrily becuse it reltes wht hs come before it. Out of self-reliztions of first three stnzs, ech bsed on wht hs discovery gone before, comes poet "e," muse tht nswers him, ctching up ll his desires in n imge tht is both idel nd s subjective, it is suffused with his feelings, with his prticulr pproch it, s well s nd s it is n tngible ctul objective, rtifct. At sme time, bridge is lwys evoctive of beyond? be yond of future poem, beyond poet is reching wrd, beyond of world greter thn tht which so mny ccept now: And e, cross hrbor, silver-pced As though sun ok step of e, yet left 2 Crne wrote brief, bitter, never on published poem centering Sttue of Liberty which includes se lines: "On this strnge shore I build/ Virgin. y lugh her/ How I endow her..." See "To in Liberty" "More Lte Poems," Collected Poetry nd Prose of Hrt Crne (ed. Brom Weber), New York, 1966, p "New Thresholds, New Anmies," s Lnguge Gesture, New York, 1954, p Blckmur sys Crne's two msters were Budelire, who imed t control, nd Whitmn, who imed t relese, but poet imperfectly ssimilted m. 108

6 Some motion ever in unspent thy stride,? Implicitly thy freedom stying e! bridge does not pper till poet is ble look t it in such wy s see it. But n it not only looks bck t him, reflecting him, csting light on his reltion it, it lso points hed unfolding of "new verities, new ink lings" nd redeems pst of poem, explorry strugglings of first three stnzs. At sme time, wht is exciting in "e" is tht, in one sense, it stnds prt from poet, it is evidently re in midst of city, it is felt be objective. Like correct ide, bridge hs life ll its own, yet life ors cn involve mselves in. In comprison this triumphnt discovery, opening of Proem seems formed from n underlying current of despir. For no mtter how gloriously segull is t outset, no mtter how closely poet identifies with him, he still remins ll wings nd sors up nd out of sight: How mny dwns, chill from his rippling rest segull's wings shll dip nd pivot him, Shedding white rings of tumult, building high Over chined by wters Liberty n, with inviolte curve, forske our eyes As s ppritionl sils tht cross Some pge of figures be filed wy;?till elevrs us from our... drop dy re is n lmost unberble gp between winging of gull nd " chined by wters." It is gp emphsized through rising nd flling, trochee nd imb rhythms of "How mny dwns, chill from his rippling rest" s contrsted bunched, clenched tight, rhythms of "chined wters by Liberty." poet cn identify with gull?"his rippling rest" nd "dip nd pivot him" pply poet s surely s gull: "his" nd "him" under line tht?but wish be utterly free, prt from ll routine of city, leds n incresed wreness of one's routine. only bondge lck of conventionl syntx in se first two stnzs is, I think, delib ertely frustrting; it is ment convey lck of ny sure direction. But this lck of direction does not men poet is simply floundering; indeed, he is lredy beginning work out his true freedom by working through his sense of wht is wrong with his sitution. If "ppritionl" in second line refers gull's wings, it lso refers "our eyes" which fde, when forsken by brief ecstsy of gull, wrd "Some pge of figures." Most pinful of ll, however, is fct tht gull's wings linger in memory; for in city, in office, re is no room for nything like humn memory. Memory re sides in filing cbinets, memory is "Some pge of figures be filed wy," comes memory down mtter of commerce. Thus, while of ele drop 109 Criticism

7 vr t close of dy relese from signls routine, n escpe from office, it is lso, in this context, truly terrifying; for persons dropping in tht box re, in one respect, treted no differently thn pge of figures rolled bck in cbinet. Out of poet's shrp wreness of diffidence of city? diffidence fostered by reducing memory filing cbinet? words tht open stnz three, "I think..." hve specil force. poet, of course, is one of crowd, multitude, lost?ll of whom re seeking something better nd who recollect flsh of gull's wings in tht "flshing scene/ Never dis closed, but hstened gin." I think of cinems, pnormic sleights, With multitudes bent wrd some scene flshing Never disclosed, but hstened gin, Foreld or on eyes sme screen. Yet impliction is tht se re people unnswered; y hve been over looked by mkers of films who provide only "pnormic sleights"?mgic tricks tht re but ptronizing dismissls. And if poet sees tht y, like him, re frustrted in ir longings, living in kind of byss with ir desires unful filled, he lso sees m s not t ll complcent but unsettled, bending forwrd in seeking ttitude. shift, t this point, firm syntx, with lines rolling forwrd in determintion, revels poet gining sense of his direction s he grsps fct tht ors shre his plight nd udience for gret poem exists ll round him. This is crucil shift in Proem, point t which poet comes relize connection between his own troubles nd needs of ors. And in very chnge syntx becomes summoning of power which ffirms tht reching out ors is in fct direction for poet?insted of reching out gull's wings, longing fly wy some frwy freedom. lilt of gull, sense of freedom, must be won in city; yerning identify with soring bird must be trnsformed in reching in oneself nd out ors. reching At this point, entrnce of tht which is beyond poet yet which cn poet ddress himself becomes reliztion most distinctively erned. To ddress s bridge "e" comports with poet's grsp of n udience which promises him opportunity write poem tht ors ctully need her. And yet fct is tht in this stnz poet does not spek direcdy his discovered udience: he speks tht which is beyond him, tht which is beyond udience. very ide, however, of iming for tht which is be one yond is just possibility poet hs discovered; poet will spek with n udience of lost multitudes but in his own ngue, tking step of sun yet not bndoning his own individul stride. He will mke his udience wre of possibilities it shres if only it becomes wre of m?just s poet hs been led, in lines of poem, in n wreness of wht is pos sible, of wht is beyond him yet within his rech. "Implicitly thy freedom sty ing e!"?such freedom redeem wht is ll round one (but which hs 110

8 gone unrelized, s multitudes hve been overlooked by more fshionble poets) is determined keep one in uch with himself, with his own deepest needs, even s it is bent on wkening new possibilities for future. For mny reders, "To Brooklyn Bridge" is poem of flickering, suggestive imgery.4 poet provides us with tntlizing glimpses of mes tht will be tken up t length in Bridge. To be sure, Proem includes mny no tions poet will lter explore t length, but tret poem s n only overture, full of "some flshing scene" tht will be "hstened gin," is ignore strength of poet thinking through mtter of his feelings, ris ing up out of sense of wht troubles him discover meningful direction for himself in reltion ors. Not rehersl of min mes of Bridge, "Proem: To Brooklyn Bridge" is very discovering of wy of ct ing which, involving poet in complex nd living present, opens up future for poet in his poem. He must listen implictions of his own position, relizing tht such implictions cn be bsis for n ctive response his own needs nd needs of ors. In such wy, he comes in his fin est udience. Such n chievement from Crne, so strenuous nd t spcious once, is just not predictble in light of his erlier poems. Bridge springs most utter ly from itself, from poet's definite nd explicit joy s well s his constnt pprehension in tking up continuum of such poem of concerted ction. In comprison, shorter poems from White seem Buildings wrenched with gony nd doubt. only wy chieve relese from intensity piling up in " Wine Mengerie" is n forge end for poem by relizing it is not moving in direction poet desires. Only when on verge of losing wht he wishes, only n is poet ble see wht he wishes. To come wreness tht "To trvel in ter/ Sprkling lone, within nor's will" is both wht poet knows he hs not ttined even s he still upholds it? this moves poet somewhere even s it pulls him down. A more hope-filled poem is erly "For Mrrige of Fustus nd Helen"; but this hs little do with ctivity of Bridge. poet of "Fustus nd Helen" seems wish be impervious his doubts. work is rhericl nd willful, hinged upon introduction of n imginry womn in wste lnd so tht one cn fest his on eyes wste lnd s it were though womnly. poem, finlly, is smll, pinched nd egotisticl in just those plces where poet wnts let in light nd ir; it is mgic grden ggressively blooming in street, nd poet gets re "Without recll,?lost yet poised in trffic." Only, perhps, in "Voyges," which breks out of lst pges of White Buildings, is Bridge sensed be possible. re, so gret is love of poet he must tke ll se s metphor; nd yet he does not drown in mgni tude of his feelings. He cn keep in mind loved one s greter thn him self, ever beyond ny thought of continment, even s he ctches, in indi 4 For lternte redings of "Proem," see R. W. B. Lewis: Poetry of Hrt Crne: A Criticl Study, Princen, New Jersey, 1967; nd Herbert Leibowitz: Hrt Crne: An Introduction Poetry, New York, 1968, pp Ill Criticism

9 vidul rhythms nd syntx of ech voyge, progress of his feelings wrd his love. Only "Voyges" suggests Bridge. Just s, when one is in love, he retins his s loving long s he continues rrive t new discoveries through his lov ing, so poet of Bridge is lwys seeking beyond himself, never settling in firm nd fixed position. poet's pek, like tht of highest lover, hs little do with stiety, with finl continment. To be exhusted, fully fulfilled?tht is deth of loving. True loving, gret poetry: ech hs cli mxes, but no climx. poems of "Voyges" drw n end when loving is gone. 2 Yet in " Hrbor Dwn" poet is denying conviction bout lover which "Voyges" goes very fr ffirm. It is notion tht re is something entirely or-worldly bout loving, tht it tkes on plce ocen, leving behind completely kids on shore. To grsp poems of we "Voyges," re lwys on verge of giving ourselves over entirely flow of things. In distinction, poet of " Hrbor Dwn" is ble ctch movement of one leving shore enter wves, movement beyond scope of poet of "Voyges," who suddenly shoves off, botm of se is cruel.?and yet this gret wink of eternity leving kids on shore, frisking with ir dog, fondling ir shells nd sticks. six poems of cn "Voyges" be connected ech or primrily through enormous imgintive leps; movement from one or is frught with risk, full of unknown. Such extrordinry vulting is just wht lover cherishes. But in " Hrbor Dwn," poet is wre of himself writing personl poem with implictions for ll who red it. And poem ctches not only birth of love, movement from shore ocen?it lso ctches birth of poet responsive needs of ors. This is most cler in qulity of poet's love, for he will mke effort be in love without withdrwing himself specil province of ocen. Indeed, wht such poet must do is bring ocen shores of city, dry snds of Americ. And " Hrbor metropolitn Dwn," so in open its so progress, l luring follow, so full of wreness of implictions of its discovery, suc ceeds in s bringing, lst stnz intimtes, strs in sunlight. Wht mtters in " Hrbor Dwn" is not just lover whom poet imgines speking him: your hnds within my hnds re deeds; my ngue upon your throt?singing 112

10 rms close; eyes wide, undoubtful drk drink dwn? forest shudders in your hir! Wht mtters s well is poet discovering significnce nd implictions of this love. This beutiful, brief poem is more thn lovely lyric of love. It points beyond itself love tht opens in bright future, but it does not leve behind pinful, even hteful spects which shrink men down, which leve m incpble of love. It is tempting, even in poem, drop bck sleep, sy tht re is where love is true, in depths of drems. But poet wnts his love under sun, in ir?he wnts his drems live, not shrouded in foggy hze. This, loveliest lyric in Bridge, finds poet turning out of himself, turning wy from lyric poem he might hve come so effortlessly. It revels deth of purely lyric poet nd birth of poet s mn of ction, motivted by lyric poet's love. privte nd public re fused in this personl poem, poem of poet wre of him self nd ors s persons, s individuls who cn be loved. Wht dwns on poet is tht, in loving, "deeds" of lover re not simply chivlric, heroic ctivities; y re contrcts, full of promise nd obligtion. Such lover, poet ffirms in course of poem, is no drem, no imge roused from sleepy depths. Insted, such person is ble include nd contin dreminess within him, becuse he is in process of ctivting his drems, bringing m light, mking m in contrcts, obligtions, connections, bridges. And it is concept of such love, developed in poem s wht poet is in need of, wht poet is looking for, tht frees poet en ter bright new dy even s he stys in uch with his drems of night. Without wreness tht wht poet is in need of is love, poet might s well be in hze, hlf-sleep. impliction is tht, without personl direction tht love brings, nyone would be unble rticulte his drems, his desires. Unrticulted, unfocused, such drems re indistinguishble from foggy hze?nd this is perhps stte of times surrounding poet. People wlk in fog, wre tht y hve drems, or un unwilling ble mke m come live. wnts ffirm tht one must be roused poet from this hlf-sleep, but not in such wy s lose drem of love. At outset of " Hrbor Dwn," poet is implying this split between pri vcy of one's deepest drems nd publicity of one's everydy routine. And he does so in s mn personl wy, unwilling wken, be unwilling born, becuse world he might enter might hve nothing do with his drems. So he keeps retreting hzy stte. This explins, I think, pinfulness t outset of poem, for poet is ssed up on snds of oncoming dy, public world, be tugged bck in wters of night, privte world. poet, ssed nd tugged, retins his weriness, his reluctnce wken; he seems in chos: trpped Insistently through sleep? tide of voices? 113 Criticism

11 y meet you listening midwy in your drem, long, tired sounds, fog-insulted noises: Gongs in white surplices, beshrouded wils, Fr strum of horns... in fog signls veils. dispersed Counterpoint this wery, muffled, nightmrish ebbing nd flowing is insistent bet of dily routine, regulrized throbbing with which hert is not connected: And n truck will lumber pst whrves As winch engines on begin throbbing some deck; Or drunken stevedore's howl nd thud below Come echoing lley-upwrd through dim snow. One instinctively shrinks from this onslught, summoning bck hze of sleep. Though sleep my be pinful becuse of its vgueness, it t lest eludes ofish puns, niml howls, of dily grind. But poet returns his sleep less void dull sounds of everydy thn ttempt mke m over, go under m, get beneth m, move some kind of hrmony. double sense of poet wnting escpe yet discovering reciprocity is virtully encted in: "And if y tke your sleep wy some times/ y give it bck gin." "Sometimes"?poised so perfectly?pivots wrd both "tke" nd "give"; nd yet, when one moves pst line brek, re is sense of relief, s though poet ctully yields his perch drift off. With dremy visions which he returns in hlf-wkeful, hlf wishful stte, comes close his need for poet love tht understnding is bsed both on reverent ttention (s in "Soft sleeves of sound" tht "At tend drkling hrbor, pillowed by") nd cpcious freedom (s in stem tht "Spills in stem nd wnders, wshed wy/?flurried by keen fifings"). Yet be "wshed wy" is not truly be free. And it is only with presence of rising sun, sensed s force behind ll, tht poet begins move out of his hzy retret: sky, Cool fery fold, suspends, distills This wvering slumber... Slowly? Immemorilly window, hlf-covered chir Ask nothing but this sheth of pllid ir. Wht is mgnificent is not only perception tht sun is re shepherd sring order by herding hze in clouds; it is lso fct tht sun brings sudden sense of light tilings tht hve lwys been re, mking poet feel lightness of tht which is ll bout him. In this new reltion light, wht hd formerly been ignored now hs new look it, even s wht is new is so becuse it seems immemoril. 114

12 Out of reltion of window nd chir fulfilled by sheth of ir, nd with n echo of fulfillment of "Soft sleeves of sound" tht "Attend drkling hrbor, pillowed by," poet becomes wre of wht he hs s fulfillment, love beside him. Such love is ble bring in focus ll tht hs been floting ssocitively, unttched nyone but poet. In love, cool rms murmur, close rms sing, eyes drink; your lover's is ngue upon your throt, forest springs from hir. All se qulities?multiple yet inte grted, so like impossible hppenings of drems but so focused nd un wvering?re brought ger in love, in relizing depths of nor per son, in shring your drems. And this love cn help you bring your drems light. For moment, this is doubtful. frost is t window with its clutching hnds, dy is coming on, drems of night will not survive. Indeed, words of lover, set in itlics, my be words of "wking drem." But must such words be spoken by definite or be in ir? Love is prom ise, not fulfillment; fulfillment of love is in keeping of continul sense of promise. And it is difficult deny tht, in lst two stnzs, lover is with poet imgintively. For if lover hs specil eyes? eyes wide, undoubtful drk drink dwn? n poet surely sees with those eyes. For he sees in such wy s be ble tke nourishment from sun, not shrink from it (s he hd thretened shrink erlier, when his drems were ttched not nor person but fog). It is not ccomplished in n obvious wy. "Cyclopen wers" ll o quickly suggest one-dimensionlity, lck of depths nd perspective, fltness insted of richness?ll in striking contrst multi-dimensionlity of "eyes... drink dwn": window goes blond slowly. Frostily clers. From Cyclopen wers cross Mnhttn wters?two?three bright window-eyes glitter, disk sun, relesed?loft with cold gulls hir. But it is sun cross flickering "Two?three bright window-eyes" tht is ble recollect sense of lover's eyes; sun is not trpped in flt sheets of glss, it is free. And out of its stiff, frosty beginning, very stnz comes live, fusing sense of dwning with sense of lover. sun cts s though it were cught, held moment, n thrust in ir, become s one of gulls. energy of sun is sprung through line brek: "disk/ sun, relesed?loft with cold gulls hir." finl stnz bers poet forwrd in shpe of lover who is mde ctive, not incpcitted, by his love. love chses wy fog, 115 Criticism

13 even s fog turns friendly in this new light, for now drems of poet re no ttched longer wndering, hze, but re in ir: fog lens one lst moment on sill. Under mistlee of drems, str As though join us t some distnt hill Turns in wking west nd goes sleep. poet is mde wre of presence of str which cn guide him, pulling him hed in new poems, in n opening future, in new even s destiny, it remins in uch with tht deepest relm of drems. It lures us hed, in "wking west" s it retins sense of its own origin. It is str of loving, here brought out in sun, so tht loving ffirmed frees you wlk in sun, in bright illumintion of dy, even s you sty wre of strs, of invisible felt presence of evening drems in ir. str of loving, once its invisible presence hs been relized, never relly fdes from Bridge. It is certinly evident throughout "Powhtn's Dughter," which " Hrbor Dwn" is perfect introduction. Though poet is occupied with or movements in tht sequence (such s turning time in river, contr Eliot, in order swim in it bck source of ll), import nce of loving, of reching out nor, is evident in every section. nrrr of "Indin" tries rech out her son by telling of contct between her eyes nd eyes of bedrggled Indin squw. poet in "Vn Winkle" ffirms tht memory keeps live, nd refore incomplete nd unfin ished, moment when one loses his mor's smile; nd poet's future is not be preoccupied with tht pst moment: he is seek out future tht will in its own wy complete tht which is unfinished from pst. " Dnce" ffirms, mong or tilings, tht when poet trvels bck tht moment when mn ws in just emerging consciousness, humn ws even n in loving reltion; Mquokeet nd Pochonts represent loving s tht which is most priml in humns, tht which is impossible erdicte?bedrock, elemen tl. And one who is conscious of Bridge s not only poem of modern ist techniques, not only poem of ffirmtions ginst Eliot's negtions, but lso poem of concerted ction, with poet shring in lost qulity of mul titudes bout him, deeply desiring tht vlue of living dwns upon one nd ll, " River" is one of finest sections of Bridge?n effort bridge poeticlly gp between hoboes with ir "elementl gist/ Of unwlled winds" nd pssengers gzing out of Limited with ir "no more ser mons windows flshing ror/ brethtking": And if it's summer nd sun's in dusk Mybe breeze will lift River's musk?as though wters bred tht you might know Memphis Johnny, Stembot Bill, Missouri Joe. All is lovingly humnized in spce of se lines, in which poet would hve ll brething in concord, ll in uch. 116

14 Wht is most remrkble in " Hrbor Dwn" is tht qulity of its loving is relized in course of poem. poet tkes up his own sense of wnting retret, shy wy, withdrw t beginning nd, becuse he incorportes such reluctnce poeticlly, poem feels s if it is filled with poet confronting n obstcle nd working through it. He is not going round not problem, method tht mkes devising inconse problem quentil; he tkes up problem, mking his work center on very lck in himself of which he hs become wre. Most who hve worked closely with Bridge hve tken note of Crne's sttement Ot Khn: Wht I m fter is n ssimiltion, showing continuous nd living vitl substnce of present.5... more orgnic pnorm, evidence of pst in inmost Wht hs not usully been considered, however, is wy this chievement comes bout poeticlly; for s poet considers pst through his present, he is lso working through his own dilemms in n open fshion. In " Hr bor Dwn," poet is not only considering something s trditionl s power of love, now seen in new light; he is lso working out of sense of his immedite pst, of lying in fog unwilling focus on pinful bet of modern life, shrinking from sun. His poem tkes up its own pst, confront ing it seriously, fford poet future distinct from simple, immedite present. future direction poet is discovering out of comprehending his pst truly infuses present with tremendous richness. And it is not pres ent of some future in which poet shll be enriched: it is present of this moment, of this poem, where poet hs mde himself utterly in uch with ll tht is going on in his work. Thus whole poem comes live s n ct of s loving poet relizes implictions of loving. poem is fusion of striving for light, for illumintion, while one is struggling retin drk ness, dreminess, of one's own nture?nd not just t close but through out whole work, s poet bridges ech feeling by connecting it wht cme before nd wht will come out of it. whole poem is n effort bring ger sun of public world, sprung in cler ir, with strs of privte life, turning in "wking west"?n effort relized in course of poem neir nor public privte but personl, written so tht ors my follow. " Hrbor Dwn," s befits n introducry work long journey, is foremost poem of dwning. poet keeps tht first, sudden discovery tht wht one needs cultivte, if he wnts invigorte persons of his rid civiliztion, is sense of person who cn live life of deeds?of ctions 5Letter of 12 September 1927, Letters of Hrt Crne (ed. Brom Weber), Berkeley nd Los Angeles, 1965, p Criticism

15 tht re lso contrcts, promises leding wrd future. And poem is everywhere live with tht possibility for cts tht re contrcts: very wy poet lets us pproch him in his drems, so tht his drems put us in mind of wht is foggy nd unformed in ourselves, is n ct tht includes us in poem. "Three Songs" is very different. If poet is fully involved in implic tions of his discovery in " Hrbor Dwn," he is t something of distnce from his subject in "Three Songs." In " Hrbor Dwn," fusion of sun nd strs, of poet illuminting himself yet within his deepest drems, is felt be present from strt. In contrst, while ech "song" cptures specific ne of contemporry life? ne tht is dependent on poet being inside, involved in, his poem?t sme time poet is ble rticulte such ne becuse he stnds somewht outside wre of nor contemporry, wy of relting love. Ech of songs is frught with difficulty; ech one pushes us wy from it; ech hs potentil be utterly ugly, repulsive. And ny ef fort unite ll three?eir by lighting on some shred trit or by temporliz ing songs in some kind of dilecticl series?is ct o even brightly, o defensively. songs, I think, re ment convey sense of ir own prtness, ech one being seprte ne of contemporry, though ech one being open criticism by poet. ide is us push out of position sserted by ech of songs, snp us free of ne in ech. We re ment recognize songs s cpturing spects of life we cn move beyond through poet of Bridge. Yet "Three Songs" re more thn simply portrits of vrious types of nti-pochonts. One wy red m, of course, is bstrct figures of women sketched out in ech nd hold ech bstrction up level of Poc honts in " Dnce." modern womn, in such seems comprison, flt, empty, lcking purpose or grce or love. Yet such n pproch gives wrong slnt songs, ech of m hving, for ll its ugliness, fullness of its own life; poems re not disrted, men, demonic projections of debsed contemporry version of Pochonts. Above ll, t this point in Bridge, poet is committed?now tht he knows precisely how remote he stnds from tht wondrous sense of loving tht ccompnied his rise from bed in erly sense morning light? rticulting of persons s y re, yet s y need not be: persons involved in reltions which re mselves de-personl. In prt, poems work just becuse of poet's involvement with se persons; poet, o, feels distnt from dwning. But becuse of poet's involvement, poems cn llow nor recognize himself in ir lines; nd hope nd belief tht ors will be ble see mselves in songs seems be wht motivtes poet. At this moment in Bridge, poet could be most tempted write s excoriting prophet. Tht he does not, tht he himself remins wre of his precise distnce from sensuous dwning of lovely new discoveries, tht he focuses insted on nor, more nlyticl yet still creful kind of discovering, is wht is so impressive in "Three Songs." And in truth, bility of poet enter, here, in snds of city t risk of leving behind memory of genuine wholeness in " Hrbor Dwn" mkes 118

16 very notion of poet striving live out his deepest drems in light of sun tht much more genuine. poet's subjection difficultness of contemporry is live even in pprent light-hertedness of "Virgini"?s becomes most evident if this song is contrsted with Eliot's portrit of secretry, "typist home for tetime" in Wste Lnd. sing-song rhythms of "Virgini" re not tht remote from kinds of musicl rhythm dremy person such s Mry is likely dmire; indeed, "Virgini" is bsed on t lest two pop hits well-known in twenties: "Wht Do You Do Sundy, Mry," from Brodwy show Poppy (1923) nd "Sundy" (1926).6 poet dopts such rhythms, hoping go through m in spirit both involved nd criticl, with notion in mind tht Mry, tht secretry, could see herself in m. In contrst, it is no news sy tht re is something delibertely stereotypicl in Eliot's por trit; very wy words "typist home for tetime" nd "young mn cr bunculr," A smll house gent's clerk, with one bold stre, One of low on whom ssurnce sits As silk ht on Brdford millionire slide under our ngues suggests n bility sum up individuls, sper m with piercing imge?n bility ginst which Crne's songs re most definitely opposed. Eliot is writing, t this point, s Tiresis, s mn who hs seen it ll, who conceives of nothing new. He is prt from ll, uninterested in ny discovery, nd his pproch succinctly ctches up ll tht is most bor ing, indifferent nd mechnized in seduction of typist. moment, in fct, my be low point, s well s turning point, in Wste Lnd. But import of this pssge is cler: feel round in drk is horrifying?tht is punishment meted out seducer who fterwrds "gropes his wy, finding stirs unlit...." Yet horrifies o for she is s typist presented inoculted ginst even tht fumbling by her slick gestures, her legerdemin: "She smoos her hir with umtic hnd,/ And puts record on grmo phone." She is ble turn her brin in grmophone record, her rm in n needle. nestizing In "Virgini," reltion between Mry nd her young mn is not so esily pinned down. It is confusing reltion becuse Mry is so up in ir with her feelings, nd her ghostly interlocur ppers so unlikely bring her out of clouds. "Mry (wht re you going do?)" is legitimte question which wnts definite nswer throughout song. Mry seems wnt Prince; but 6 Susn Jenkins Brown, friend of Crne's, reclls lyrics "Wht Do You Do in Sundy, Mry" her Robber Rocks: Letters nd Memories of Hrt Crne, , Wesleyn, Connecticut, 1969, pp She lso includes brief discussion of or poems by Crne tht echo music populr of his time. ws "Sundy" recorded often in 1926; one of best versions is by Cliff "Ukeleie Ike" Edwrds nd His Hot Combin tion, New York, 1926, PERFECT (mx ), now vilble in Originl Sound of 20's, Columbi Archive Series, C3L Criticism

17 she is surrounded by princes who would urge her let down her hir, not s Rpunzel but s ny ordinry flpper. Wht we keep our eyes on throughout re mny seductive forms tht suggest we should be grtified immeditely. We see tht Mry is right "keep smiling boss wy," s she knows he is not her Prince, not her Spring, but wht poet seems wnt Mry see is tht her own drem of Prince, of Spring, is tinged with tht sme flse smile she gives boss. In bckground of "Virgini" lies msculine world of business, but it, o, lcks substntility. It hs feel of plce where riches re supposed lie just round corner, nd it hs qulity of suspended, dremy, insulted rr thn ctive or even brutl. Mry's boss, one img ines, is no ggressive suir; it is world, fter ll, of nickels nd dimes rr thn thousnd dollr bills. And "wy-up nickel-dime wer" is juxtposed rndom energies of dice gme in which ll richness rides on lucky throw, big brek. counterprt this conviction is belief in Spring with Prince Chrming. creed of lucky brek keeps coming bck in song, with suggestion of wht is trgic in such creed: it keeps people witing for unimginble riches rr thn urging m discover richness of ir own, imginble, within ir grsp. creed, in short, is no better thn concoction: it is s s stisfying popcorn. It is bolstered by corny mes of pop songs tht conspire turn persons in "Pigeons by millions" lured by "high crillon/ From popcorn bells!" Wht poet is incisively wre of throughout is sense of persons turn ing wy from ir own imgintions imgine unimginble. This turning wy is implicit in opening: O rin t seven, t eleven Pycheck Keep smiling boss wy, Mry (wht re you going do?) Gone seven?gone eleven, And I'm still witing you? Mry sidles through work-week, entering rinsrm s 'loss" which cn be equlled by her Fridy py s "gin," nd ll while hoping for lucky brek. But "Gone seven?gone eleven," week is gone by nd un imginble voice of populr songs, which we her through se sing-song rhythms, still hsn't brought much of future. voice clims be "still witing," but re is little sense of expecttion or urgency in it. And t end, voice leves more more Mry virginl, unuched, thn ever; wlls re building round her, though everything seems merely flippnt, simply flow ery: High in noon of My On cornices of dffodils slender violets stry. 120

18 Crp-shooting gngs in Bleecker reign, Peonies with mnes pony t Forget-me-nots windowpnes: Out of wy-up nickel-dime wer shine, Cdrl Mry, shine!? Mry is drunk on her sense of possibilities (she is "High in noon of My": month turns in verb, noon suggests ded center, nd her height comes from her self-inxicting wishes), even s one feels tht flowers re fding nd tht "Cdrl Mry" is unpromising: her witing my mke her in nun in nrrow room rr thn June bride under rch of church. "Virgini" utilizes forms of populr music probe tht pop corn in songs tht keep persons lost in ir fnciful drems; poet wnts burst bubble Mry, nd ors, ride in. pproch in "Ntionl Winter Gr den" is fr more nlyticl: of ll poems in Bridge this song is perhps most biting. But poet hs ugh time figuring wht it is in strip tese dnce tht disturbs him; in fct, his first tempttion is just ignore it, just simplify it. first stnz brings out ll tht is simple in strip-tesing, nd reductiveness of dncer's gestures is prlleled by qulity of speking tht lingers mong men s routine begins. dncer nd men re virtully indistinguishble becuse y hold ger world where one is "Outspoken," where words re "bndied bout," where cler idel is tht one should be ble sy, "It's cinch!" A lnguge stripped of ny of its intriccy or complexity is like grishly but simply drped dncer: Outspoken butcks in pink beds Invite necessry cloudy clinch Of... bndy eyes. No extr mufflings world's one flgrnt, swety cinch. here: Ingenious puns like se dominte poem. "Before finl ring... begins/ A m-m scrimmge" brings world of prizefight in Burlesque Hll, reminding us tht it is predominntly msculine world we re involved in. But puns become horrifying when poet ctches on rel feel ings of men: dnce is prizefight, nd men re eger see womn die. " lewd trounce of finl muted bet" is blow tht finishes her, nd her spsms re not only n cted orgsm but spsms of dying person. poet becomes grdully wre of this. At first, he seems think wht is disturbing bout dnce is wy in which it mkes your idel seem tht much more remote. dncer rouses visions in brin tht hve do with n idel womn, not womn before you or ny womn you know. And so you rush, t close of routine, keep tht visionry idel live: 121 Criticism

19 And while legs wken slds in brin You pick your blonde out netly through smoke. Alwys you wit for someone else though, lwys (n rush nerest exit through smoke). This is, be sure, quite pinful, this never-diminishing distnce, but it in no wy compres misery of close of song. For re poet relizes tht We wit tht writhing pool, her perls collpsed,?all but her belly buried in floor; And lewd trounce of finl muted bet! We flee her spsm through fleshless door... dncer, in dying, is cting out desire of men be free of flesh, deny effect of pull of grvity, overlep deth by dying out of life's pinfulness. men, who seem t first be trying ignore such desper tion in dncer by never grnting her ny eyes, by mking "her eyes exist in swivellings of tets," se men re ctully bent upon eliminting mselves, tking mselves out of life. men truly wnt ber ll terrible hu milition of "Perls whip her hips," of "Her silly snke rings," of "turquoise fkes on tinselled hnds," for tht is wy in which y die out of living, chieve ir own deths, by shring in humilition of dncer knocked floor in pool. utter misery of this position, however, hits poet fully only in his conclusion: Yet, empty trpeze of your flesh, O Mgdlene, ech comes bck die lone. n you, burlesque of our lust?nd fith, Lug us bck lifewrd?bone by infnt bone. men do ll y cn die, bndon ir flesh, flee up in smoke: wht is wful is tht y do not die, fully, but y return. And y must return life bering with m desire die s something unfulfilled, unrelized, still gnwing. ir efforts escpe pin crete more pin for m. Erly reders of Bridge who were convinced of poem's filure mde common rgument tht "Three Songs" could esily hve been removed from whole poem without seriously ffecting its unity. An offshoot of this rgu ment sserts tht ltter hlf of Bridge simply flls in dispersion.7 But such reding ignores poet in "Quker Hill" who, fter disprging so ciety predominntly loof from ny misery, society of men in "plid plusfours... with sticks bristle nd cigrs," society of lovers from "Hollywood's new 7 ws position held some reviewers in by 1930; first impressive sttement of it is by Yvor Winters, " Significnce of Bridge, by Hrt Crne; or Wht Are We Think of Professor X?" In Defense of Reson, Denver, n.d., pp

20 love-nest pgent," insists upon delving in pinful, lowly, over looked; he no longer becomes hwk, with its piercing eye, but whip poor-will, with its cry tht rticultes nd trnsfigures pin. Such n explor tion, which opens in stifling ir, murderous tmosphere of " Tun nel," is foreshdowed in "Three Songs." And ech of songs, in exploring filure of men relte women in meningful wy, recollects pilots from "Cpe Htters," ech lone in his "bysml cupol of spce." In "Three Songs," poet insistently explores, with much sensitivity, brekdown of reltion between men nd women. He tkes dilemm of brekdown, in ech cse, with much seriousness, s though one could recognize oneself in songs. And this is especilly true, it seems me, of best of "Three "Sourn Cross." Songs," One good reson for success of "Sourn Cross" is tht poem most likely mirrors feelings poet himself hd work his wy out of in order write Bridge. For poem is n exmintion of nostlgi, of bitterness nostlgic nd bckwrd-looking vision breeds. And one of blocks Crne hd overcome before seriously beginning his poems ws Spengler's De cline of West. fct is tht, fter his reding of Spengler, Crne very nerly did not write Bridge; he expressed his despir in letter Wldo Frnk? form of my poem rises out of pst tht so overwhelms pres ent with its worth nd vision tht I'm t loss explin my delusion tht re exists ny rel links between tht pst nd future destiny worthy of it.... s bridge symbol dy hs no significnce beyond n economicl pproch shorter hours, quicker lunches, behviorism nd othpicks.8 A htred for present, bsed on reverence for pst, is one of posi tions Crne must hve moved beyond in order write Bridge. "Sourn Cross" n conveys experience, n, which Crne hs hd work n through, experience he knows full well be powerful nd ttrctive lure pulling ginst sense of reching out ors, sense of moving beyond oneself, tht poet relizes in course of Bridge. And with force of or poems borne in mind, it seems me Crne writes "Sourn Cross" in hope tht such n incisive poem will knock free ors trpped in nos tlgic position. For it is terrible position be in. A nostlgi for wht is pst nd gone, like desire for so nything remote it cnnot be ttined, leds tremendous bitterness nd contempt. For one comes cherish his idel, pst, bsed on only substntility of his htred for ctul, present. position is destructive, bound brek gin in htred nd contempt, s does end of "Sourn Cross." re, everything is lost: strs hve turned sne, "lithic trillions," msses of ded rock. It is so becuse nrrr, glring, bitterly ffirms tht his Sourn Cross is phnm. His idel, tht 8 Letter of 20 June 1926, Letters, p Criticism

21 which hs trditionlly given light nd direction those t se, hs buckled under, s he buckles under his own htred. Though it moves wrd dwn, "Sourn Cross" is not poem of dwning but poem of morning written by mn who wnts be bck in evening, bck in erly prt of poem, bck in time before Eve hs fllen, when ir is rich with memory. If re cn be no rich nd evoctive evening, n Eve must turn in Medus: just s mn will turn himself unresponsive sne rr thn give up his love bsed on contempt. poem my be described, I think, s n snishing blend of soft longing nd hrdened contempt. Beuty nd re ugliness held ger in most clshing mnner; for beuty of pst is ll in reltion supposed ugliness of present, nd nrrr gins his sense of s beuty, well s his bitterness, by trying, impossibly, hlt flow of time. sense of mn bucking tide is shrp in poem. Sourn Cross is un drifting, denibly, wrds dylight tht will, for mn, snuff constelltion out; nd tht Cross will vnish helps over-invest it with such qulities of hr mony nd rdince tht it seems virtully impossible live up. It is becuse mn wnts "nmeless Womn of South" s "No writh, but utterly" tht Cross comes seem so bsolutely writh-like nd evnescent. So fixed is mn in his wnt hve his idel utterly, tht he is prcticlly determined finish s sne. Such wnting gives Cross its unuchbility: it becomes "Still more lone," like mn, even s in its loneness it is seen s perform ing lovely, idel ct of mking love evening. This love-mking, how ever, is scrred, stunningly, with intrusion of mn, entering with snrl t 'lower hevens"?hevens mn would hve strictly dissocited from his Cross. Thus lines hold ger beutiful imge with down-turning sneer of htred: Sourn Cross tkes night And lifts her girdles from her, one by one High, cool, wide from slowly smoldering fire Of lower hevens,? vporous mn cleves beuty of str mking love night, but this holding str provokes sheer disprgement for wht mn knows Cross is moving wrds, her deth in morning. most poignnt lines, however, re not in opening but re those which cpture bittersweet love for something tht hs fllen, tht is unretrievbly gone, yet which one still clings: scrs! Eve! Mgdlene! or Mry, you? Whtever cll?flls on wve. vinly O simin Venus, homeless Eve, 124

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