Wednesday, May 30, 2012

If I Were a Carpenter, And You Were a Lady...


The blind date you went on in 1928
lit up a pair of baby blue eyes
That dazzled your 
Mornings and
Twilights.


The man with hands carved of seasoned oak
The man with a heart full of 
Well worked earth that
Beats only for
You.


He bought you a hill
He built you a house
You gave him a home
He left you alone


Solitude
Gives old women
Time to mull over a life
Lived with the ones she loves
What transpires when his final nail is secured?


Recollection
Is the everlasting 
Card you have left to play
To patch his final gift to you
Your watered down eyes ripple and say


I wish he was a scoundrel
Then he wouldn't seem so far away




Monday, May 28, 2012

THE PLAN

For my rough draft I was able to type out about three pages and i talked in depth about one of my poems and touched on a few others.  If I am able to go into as much depth as i did on the first one I will have no trouble making the page requirement.  I am also trying to make the ties between my poems as concrete as possible.  Getting the whole big picture and making everything make sense together in the end has been the downfall of my other critical essays so i am trying to put given advice to good use.  I hope to get a big chunk of the paper done tomorrow and will then be proof reading to touch things up.

Monday, May 21, 2012

Final Paper Brain Storm

For the final paper I was thinking about finding poems that mix love and time and comparing and contrasting how the two ingredients intermingle.  Each poem will have a different aspect of love or time so each poems relationship between the two will be drastically different.  The poems I have picked out so far are Housman's "When I was one and twenty", Yeat's "When you are Old", Lawrence's "Love on the farm" and Auden's "As I walked out one morning".  I will probably use Virginia Wolf's critical essay for some memory refrences.  I was also thinking about using Robert Frosts's "The figure a poem makes" and discuss how and why each of these poems contains memorable speech.  

Friday, May 18, 2012

Rules of the Road - Flora Turgenson and Polly Darton Edition

1.  When in, about or around West "By God" Virginia thou shall watcheth and waiteth for the most opportuneth Tudors Biscuit World.  Driving down the road I get a feeling that I should have gone to Tudors yesterday.....
(John Denver - Country Roads)

2. Keep on eye out for the good, the bad and the ugly of the license plate world.  Vanity plates are so vain!
(Carly Simon- You're So Vain)

3. Never, I repeat, NEVER underestimate the necessity of good road snacks.  Hot sausage and mustard, or while were in the mood, cold jelly and custard!
(Olive Soundtrack- Food Glorious Food)
(Cab Calloway- Everybody Eats When You Come to My House)

4.  Sharp eyes and savvy nostrils will keep your road kill count top notch.  1,2,3,4,5,6 road kill, road kill!
(Modern Lovers- Roadrunner)

5.  Every good road dog knows:
       Vultures fly high,
          weather never better.
       Vulchers fly low,
          shoulda brought ya sweater!
(Martha and the Vandellas- Heat Wave)

6. When en route don't forget your music to boot!  Without ear candy your ride could get weeeiiird.
(Greatful Dead- Truckin')
(Aaron Tippin- There Ain't Nothing Wrong With The Radio)

7. Never underestimate the square footage of your cab.  You can probably fit another person ad their dog.
(Marvin Gaye- Hitch Hike)
(Roger Miller- Me and Bobby McGee)

8. Be kind to your toll booth workers, its hard out there for a little shrimp. Nine words can save a life.
(Rolling Stones- (I Can't Get No) Satisfaction)

9.  ROAD FRIENDS BEWARE!!!  Coffee induced maniacal delirium is a very real condition.  It will tae you up and it will bring you down.  I believe Merle said it best,  "you are always on top of a mountain when you fall!"
(Descendants- Coffee Mug)
(Bach- Schweigt stille, plaudert nicht) (translated to Be still, stop chattering)

10.  As your round the corner and realize that your epic journey is about to come to a well deserved end, revel in the blood, sweat, tears and bottles of energy drinks you put into your trek.  Arrive with a BANG!!!
(Europe- The Final Countdown)



Thursday, May 17, 2012

"Let Them Play Euchre!!"

"Let them eat cake!"...ugh,
Why is that such an offensive suggestion?
Cake surely is a wonderful treat
for a frenchmen,
Is it not?

I could have been cruel and said
"Let them eat gruel!"
"Slop for dinner!"
Heaven forbid,
"Let them eat chopped liver!"
Ohh, I do despise that dish

Truly I do care for these
pathetic peasants but,
It would truly be a travesty if
I am remembered for my
Culinary curtness and not my
overwhelming beauty and grace.

What exactly do these
demanding demons want anyway?
My money?
My jewels?
Obviously they don't want my baker,
My castles?
My wit?
I'd gladly give my candlestick maker.

I suppose I know what they truly want,
But they are not going to get it.
The crown off my head via the neck,
It is just not in the cards for me to end neckless.

......mmhmm...card, playing cards...EURIKA!

An old french saying states
"An idol hand sews the devils seed",
The guillotine certainly must be manufactured by
Lucifer himself who is a known employer of
Idol hands to do his dirty deeds.

Those who utilize that bloody blade and
indenture their idly infected hands to do dirty work
Need something new to do with their itchy fingers.
I propose a jovial game of euchre!

Many are the days I have spent
In the afternoon sun
Sipping lemon water and
playing euchre to my hearts delight.

If my rabid people could only
focus on the delight of the game and
focus less on their petty complaints
things could be going much smoother for us all.

With my new stroke of genius
I will surely be remembered for my
Tact and gracious people skills!

Yes, yes, yes.  That is it.
Gather the crowds and tell them
I have something to say
"LET THEM PLAY EUCHRE!!!!!"

Monday, May 7, 2012

Duhamel Critical


In Denise Duhamel’s “Ka-Ching” many forms of poetry are employed with varying ranges of success.  In her poem “Anagram America” she uses the letters in the word America to form a seemingly infinite amount of words and phrases.  The many shapes and forms of the letters in America represent a parallel to the many shapes and forms the American population takes upon.  Some of these words and phrases fit better contextually than others but that shows the diversity of American citizen physically and cognitively.  An other interesting fascist of this poem is the mildly schizophrenic curves of attitude this poem takes.  In one stanza the speaker is accusatory and very pointed when speaking of America;
“America tends to maim, care-
ful not to kill at first.  We are all for democracy, or so we claim, care-
less with our rhetoric”
While just a few lines above the speaker speaks of America with nostalgia and pleasant sentiment;
“Now that’s America.  In Skate-a-Rama, ice
skaters figure-eight even in the summer.  I race, Ma-
donna on the speakers, my laces tight”
The opinions about America from fellow Americans is a spectrum ranging from national loyalists to ex-patriots and Duhamel successfully expresses the contrasting opinions of an exponentially varying population with her voice and her form.
In Duhamel’s villanelle “Please Don’t Sit Like a Frog, Sit Like a Queen” the sentiment of this poem is unclear and undefined.  The repeating lines of
“Remember to pamper, remember to preen,
Don’t sit like a frog, sit like a queen”
continue to give advice that alludes to becoming a proper and respectable woman and wife with supporting lines of 
“Don’t marry the professor, mary the dean. 
 Marry the King, don’t marry the earl” 
that enforce a very proper and stark existence only to be preluded by the lines
“Smile, especially when you are feeling mean.
Keep your top down when you take your car for a whirl” 
which insinuates a free spirited independent attitude that contradicts all former advice.  The two ideas of this poem mix like oil and water and leave the reader in question of the overall focus and moral of the villanelle.  
In a third form Duhamel plays with translation that takes shape as an exercise in linguistics with an underlying poetic tone.  A list of mostly politically pertinent questions are given to a translator, translated, then give to another translator in a different language eight times over.  In the international world that we live in a huge amount of information is lost or misinterpreted in translation which leads to greater issues.  Some of the questions asked are converted flawlessly from one tongue to another, some retain the general gist, while others loose all former significance.  Most of the questions are translated back into english still in the question form, but some are not.  The last line of the poem is striking and borderline disturbing.  Given the question “Do they have the nerve?” the statement answer in return is “If you have the rash audacity, just do it”  The answer appears to be back handed advice or a destructive challenge that took shape in translation.  The form of this poem tries to embody communication error while the voice has statements of political significance.  With voice and form combined this poem sparks constructive questions in the readers mind  by showing the reader how easily a simple question can be changed into a challenging one.
Denise Duhamel’s creative forms provide a unique look into different structures and interpretations of poetry while still speaking with a strong creative voice.  Like most things in life some forms work better than others but all are worth a try.

Friday, May 4, 2012

Simply Revolutionary


Allow me to introduce the use of a revolutionary idea,
Simplicity at its best is a building block for happiness.
Blacks and whites will suffice for games of dominos and dice
But spectrums of simplicity provide the best advice for life. 

Light a candle in the bath,
Feel the thunder, feel the wrath
Take a shot of top shelf liqueur,
Get new shoes, you'll run much quicker,
Fill your pen up with ink, let it write while you think,

Ride your bike in a summer storm
Remember every rose has a thorn
Feel the sand beneath your feet
Confess your love, don't be discrete.

The present is built upon the past,
Future lurks around the corner.
Embrace your time before its passed,
Be satisfied at the coroner .

Friday, April 27, 2012



     In Terrence Hayes' "Lighthead" he focus on many aspects of sorrow and anguish.  He touches on where anguish comes from, where it goes and who it effects.  He discusses the effects that anguish have on the micro-level of the individual and the ramifications pain has on the macro-level of humanity.  The emotions of sorrow and anguish pack a gut wrenching punch of outstanding turmoil that can last a lifetime.  Science states that energy is neither destroyed nor created, only relocated.  That being said, the sentiments of sorrow and anguish must be placed somewhere.  Its final resting space can have a positive effect on the individual(s) or a negative end result. The outcome is manipulated by where and how one focus the emotional energy that is attached.  Terrance Hayes utilizes anguish and sorrow in his poetry as a common thread that at times, strings people together while other times is employed as a mean of oppression and destruction.  
     In Hayes’ poem “The Golden Shovel” a small boy is out with his father and witnesses a man striking his son;
“We watched him run to us looking wounded and thin.
He’d been caught lying or drinking his fathers gin. 
He’d been defending his Ma, trying to be  man.  We
Stood in the road, and my father talked about jazz,
how sometimes a tune is born out of outrage.  By June
the boy would be locked upstate.”
The boys father in this poem is trying to express to his son that beautiful things can come from terrible events.  A feeling is a feeling no matter what, that is absolute.  How the recipient of that feeling reacts is as diverse as the color spectrum.  Life is what you make of it and the individual is responsible for manipulating the situation to best serve their needs.  Leaning something from a negative situation can turn an unfavorable circumstance into a beneficial learning experience with just a flip of the switch.  The last sentence of the third stanza informs the reader of the fate of the struck boy which proves to be quite grim.  Directly after an uplifting anecdote speaking of transformation and beauty we are bombarded with a harsh reality and are made aware of the difficulties involved in squeezing sorrows into a sweet songs.  A situation that is teetering on the grey line that separates a beneficial experience from a detrimental one is manipulatable.
Through out the entire poem Hayes uses the word “we”.  In the first half of the poem “we” is a boy and his father.  In the second half of the poem those included in his “we” are not as well defined, but implied to be a group of people, a humanity. He goes on to describe the anguish a group of people experience and how they cope with their emotions.  
“While God licks his kin, we
Sing until our blood is jazz.
We swing from June to June
We sweat to keep from we-
eping.  Groomed on a die-
t of hunger, we end to soon.”
God created man in his own image so we are his kin.  His abusive licks are the sorrows that are inflicted upon us throughout our entire life while the songs we sing are a coping mechanism to help us get through the eternal monotony of the endless June to June.  Our world can be surrounded by anguish from all angles,  it is a human emotion that all of humanity experiences.  As inhabitants of our world, we are in this together.  We all have to deal with the grief, anguish,sorrow, joys and laughter that our world has to offer.  
In Hayes’ poem “Lighthead’s Guide to Addiction” he lists off habits and problems while offering cures to many of life’s idiosyncrasies.
“If you are addicted to sorrow, all my talk about loss is not loss to you.
No one knows why your father built a shed for his weapons.
Probably was some hellified form of addiction.
If you are addicted to weapons, please find the people who plan to burn 
the last black man alive at sunset for me, 
or try learning a little history”
The discussion of loss is therapeutic and must be dealt with.  Processing anguish is a painful and difficult procedure but is certainly necessary.  Knowing that other people share the same awful emotions is reassuring, knowing that you are not alone in your grief is comforting and encouraging.  The author’s father has built a shed for his weapons to deal with his emotional anguish, his weapons are his defense mechanisms and his shed is an arsenal with a short fuse.  His advice to weapons addiction is to education with history.  History is plagued with distress, subjugated by oppression and most likely to repeat itself.  The only way to combat the repetition of a dark past is to acknowledge it.  A learned historian has knowledge of the past and insight to the future.  
In “The Golden Shovel” the subjects of the poem are dealing with anguish and coping with it the best way they know how.  They take what they are given and make it work for them, they roll with the punches life throws. In “Lighthead’s Guide to Addiction” Hayes is offering advice and provides sanctuary from anguish and sorrow by means of knowledge, expression and confrontation.  
Sorrow and anguish are unavoidable facts of the past, present and future.  When in the line of fire, reaction time is key.  Know what you are facing and act accordingly.  Keep in mind the past and the future without forgetting about the present.

Sunday, April 22, 2012

Him Again

Telephone rings, a ghost from the past,
Pleasant surprise or roll of my eyes?
Sweet words re-heard, a new spell could cast.

Honeysuckled "Hellos" arise from a flask
Old players, new games, a man in disguise.
Telephone rings, a ghost from the past

How've you been, these years go by so fast
Think of sunrise, apple pies and fireflies
Sweet words re-heard, a new spell could cast

Recall I can, but with some contrast,
I see red eyes, bad lies and horseflies.
Telephone rings, a ghost from the past

His soul sounds old, age comes on too fast
Nostalgia espies, should I deny?
Sweet words re-heard, a new spell could cast

Telephone rings a ghost from the past
I sigh, with closed eyes, a fatal try,
Finally, say a final goodbye
Sweet words re-heard, a new spell could cast.









Friday, April 20, 2012

Memorable Weddings


In W. H. Auden’s essay “Poetry as Memorable Speech” he speaks on the ideas of what makes poetry memorable.  According to Auden, memorable speech “must move our emotions, or excite our intellect, for only that which is moving or exciting is memorable, and the stimulus is the audible spoken work and cadence, to which in all its power of suggestion and incantation we must surrender.”  When someone is constructing a poem  they should keep many things in mind.  There must be an over riding theme to the poem, but that theme must be conveyed in such a manner that makes it worth while to create, read and most importantly, listen to.  He describes the cadence of a poem as having a “power of incantation”   that can gain momentum and take you to places you may never have dreamed of.  In Phillip Larkin’s poem “Whitson Weddings” he has an interesting rhythm and inflection while describing the end of a train ride full of newly weds that proves to be quite memorable.  
       “and it was nearly done, this frail 
traveling coincidence; and what it held
stood ready to be loosed with all the power 
that being changed can give.  We slower again, 
and as the tightened brakes took hold, there swelled 
a sense of falling, like an arrow-shower 
sent out of sight, somewhere becoming rain.”
This passage has a memorable cadence along with word choice while still holding on to the theme of the poem.  The last three lines of the stanza specifically stand out and create an image for the reader that is relatable and unforgettable.  
Auden also focuses on the content of the poem and states that it does not have to be about something spectacular or amazing, just something.  “Everything that we remember no matter how trivial:  the mark on the wall, the joke at the luncheon, word games, these, like the dance of a stoat or the ravens’s gamble, are equally the subject of poetry.”  Even the simplest of things can have the potential for poetic beauty, being able to find memorable significance in  mundane observations proves to be quite memorable.  Another quote from Larkin’s “Whitson’s Wedding” is an excellent example of mundane transforming into extraordinary.
“All afternoon, through the tall heat that slept
      for miles inland,
a slow and stopping curve southwards we kept. 
Wide farms went by, short-shadowed cattle, and
canals with floatings of industrial froth;
A hothouse flashed uniquely:  hedges dipped and rose:  
And now and then a smell of grass 
Displaced the reek of buttoned carriage-cloth
until the next town, new and nondescript,
approached with acres of dismantled cars.”
Larkin was able to take a routine afternoon train ride and transform it into a journey full of sensory stimulating experiences.  What he sees, smells and hears is nothing noteworthy, but with his choice of words and the inflection of the cadence Larkin makes a striking impression on the reader.  With his memorable description of a mundane afternoon he is able to bring the reader onto the train with him.  The fact of reality is that most of the time, life is mundane.  When someone makes an everyday event exciting that is memorable speech.  
Auden also elaborates on the idea that “the test of a poet is the frequency and diversity of the occasions of which we remember his poetry”  The success of a poet is how often that poet’s work is referred to and thought about outside of the realm of poetry.  One easy way to get stuck in someone’s mind is to write about things that people deal with on a daily, or often basis.  Larkin describes the wedding attendees in his poem “Whitsun Weddings” that sticks in my mind and will reoccur at every wedding I attend:
“The last confetti and advice were thrown,
and, as we moved, each face seemed to define
just what it saw departing:  children frowned 
at something dull:  fathers had never known
success so huge and wholly farcical;
  The women shared
the secret like a happy funeral”
This scene is extremely relatable to most everyone who has ever attended a wedding  or has been married which is a good portion of the general population.  A wedding is not a mundane or everyday event but it is something that is memorable.  Memorable speech of memorable events gives the potential for a reoccurring memory.  Larkin was able to create a scene in his poem that occurs at every wedding and is relatable to everyone in attendance.
Memorable speech is something that, unknown to the reader is imbedded into their memory and shows its face when the timing is right.  One might be able to recognize memorable speech right off of the bat, but the real test is time.  There are many situations when one might read a piece of memorable speech and not know it until the time is right.  Walking out of church after your sister’s wedding one might think “The sun destroys the interest of what’s happening in the shade” and memorable speech is born.  

Friday, April 13, 2012

The Navigator


I check the roadmap then reply;
Right on Railside, left on Levi,
Straight away 'till Sunday Street.
Shotgun seat cant miss a beat!

Omaha to Opelika,
Pitstop in Tennessee.
Tupelo to Tucumcari,
Gas-up in Muskogee.

Always know just where you're at
"You are here" right on the map.
If you find you're in a bind,
Remember clouds are silver lined.


My family is a driving family.  We always had a big car that fit all of us, all of our stuff and always drove to every vacation. I have very vivid memories of reading maps, highways signs and roadside attractions while being enamored by the names of towns, streets and states.  Today I am still a big fan of long car rides and I still love reading roadmaps front to back.

The Figure of Love on the Farm (critical 3)


There are many ways to make a poem great, in Robert Frost’s essay The Figure a Poem Makes  he gives spot on advice that any aspiring or established poet could benefit from taking heed to.  His first piece of advice regards content,  “make all poems sound as different as possible from each other, and the resources for that of vowels, consonants, punctuation, syntax, words, sentences, metre are not enough. We need the help of context- meaning-subject matter”.  Frost urges poets to strive for uniqueness not only in word placement and thought out rhythm and rhyme but most importantly, the subject of the matter.  “All that can be done with words is soon told” is implying that  a poem is much more than words.  Putting a few syllables in order on a page is not poetry.  What graduates congregated syllables to a bonafide poem is the all encompassing theme.  With a notable theme and subject matter a mess of bland words and mundane situations can be reborn into the vibrant new life of a poem.  Poetry is the art form of word placement and play.  The raw materials of a poem (words upon words) do not make a remarkable piece just as tubes of beautiful colors do not make a painting renowned.  It is the situational passion that is embedded in the construction of a piece that gives it staying power and the praise of the literary world.  “Its most precious quality will remain its having run itself and carried away the poet with it. Read it a hundred times: it will forever keep its freshness as a petal keeps its fragrance.”  Frost describes a wild poem, a poem that has a mind of its own, a poem that takes not only the reader but also its creator on a wild ride from start to finish. 
In D.H. Lawrence’s poem Love on the Farm he successfully harnesses the beast and focuses its energy on delight and wisdom while still keeping the dangerous curves in the content.  Such a simple and archaic task as picking off a rabbit for dinner is transformed into something much more sensual.  Combining the two different but ever-so related themes of sexuality and survival he accomplishes the twists and turns that Frost discussed in his essay.  Lawrence delicately weaves a story that is not quite clear of its intention or direction until later in the poem when its figure takes shape.  “To be choked back, the wire ring, her frantic effort throttling:  Piteous brown ball of quivering fears! Ah, soon in his large, hard hands she dies” is seductively describing the farmer snaring a rabbit to bring home.  In the last few stanzas of the poem the speaker (presumable a women to whom the farmer is associated with) experiences the same type of steamy emotions as the snared rabbit in a new and totally different plane.  “God, I am caught in a snare!  I know not what fine wire is round my throat”  fallowed by the final lines of the poem “Of sweet fire sweeps across me, so I drown against him, die and find death good.”  Two phrases of similar content and dissimilar themes with a super highways connecting them throws the reader in a whorl and lets them experience a truly form fitting piece of poetry.  

Thursday, April 12, 2012

Hank Snow




Hank Snow is a good man.  The song starts to really pick-up around 0:30!

Friday, April 6, 2012

Critical 2


Even though both poems are about war and its horrors they approach it very differently for many reasons. The position of the author and the type of war both make a significant impact of the poem.  In "Easter 1916" Yeats is describing a revolution of his oppressed people.  It is something he feels vehemently passionate about.  The conflict is very close to his heart, but he is not involved in the actions of which he writes about.  Rosenburg on the other hand, is questionably on the other end of the spectrum.  He was cannon fodder for a devastating war that engulfed the entire world and eventually became his own demise.  In his poem “Break of Day in the Trenches” he enviously describes a rat who can “cross the sleeping green between” the English and German sides of the battle.  He is jealous of the rat because the rat has more of a chance of survival than the men on the front.  He does not have much of a political hue to his poetry like W.B. Yeats does.
In Yeats’ “Easter 1916” the phrase “a terrible beauty is born” is repeated three times.  Each time I interpreted as a different meaning.  The first terrible beauty is the horrific act of war (terrible) that will hopefully gain independence (beauty) for a nation.  The second terrible beauty is the prospect of being an independent state.  Once you gain independence the real trouble begins.  He is aware of the challenges that the independent Irish nation will be facing.   The third terrible beauty is the terrible tragedy it is for someone to be a martyr, the beauty lies in the gainfull product of their actions.

Pollination


War Poetry



Eulogy

It happens on a Monday, at 11:20 A.M.,
as tower guards eat sandwiches
and seagulls drift by on the Tigris River.
Prisoners tilt their heads to the west
though burlap sacks and duct tape blind them.
The sound reverberates down concertina coils
the way piano wire thrums when given slack.
And it happens like this, on a blue day of sun,
when Private Miller pulls the trigger
to take brass and fire into his mouth:
the sound lifts the birds up off the water,
a mongoose pauses under the orange trees,
and nothing can stop it now, no matter what
blur of motion surrounds him, no matter what voices
crackle over the radio in static confusion,
because if only for this moment the earth is stilled,
and Private Miller has found what low hush there is
down in the eucalyptus shade, there by the river.
PFC B. Miller
(1980-March 22, 2004)

When I was One-and-Twenty

Death of a Salesmen (Maudlin)
When I was one and twenty
Plans working in my head,
My friends they were a plenty,
Now many of them dead.
Once nut brown soft and lovely,
Bloodshot now, life has fled.

Shady trees now mark his place,
Tear stained earth upon him,
Crying mother wipes her face
Somber songs pose as hymns.

To who not knows deaths embrace
Be prepared, for it you face.

As The Train Leaves the Station (Upbeat)
When I was one and twenty
To their great dismay,
The world it was my oyster,
Each city my buffet!

In and out of town and state
The people, the places,
Mine did see our country great

Journey for my minds delight
On a road less traveled
Destination, homesite.
Location, unscheduled.

Shoulda' Woulda' Coulda' (Mixed Drink)
When I was one and twenty
Did not know I at twenty five.
The years go by so briskly
Mine, a life I wish to contrive.
I live now, mistakes a new,
Remembering the ones who flew,
Learning things for future brews.

Would I of days so long ago
Smile upon my current glow?
Have I acquired skills to bestow
Or have I stunk to a new low?
All these queries are mine.  Forego.






Thursday, March 29, 2012

Lost Dog

Vital eyes of a loving companion
are not to be found in a thicket full
of  overgrown woody and green distractions
that once embraced her mind so bored and dull

Absence is amplified by dark silence.
At high noon a siren sounds for return,
waiting, watching and wonder the penance
for the forgotten confidante I yearn.

Alas, a jingle from afar tickles
the worrisome ears on a widow's peak.
A rush from the brush ignites a fickle
excitement that is burning so to speak.
Frantic brown eyes meet worried and wrinkled
blue for an embrace that's unique and true.

Critical


Thomas Hardy's "Hap" is a poem that embraces nihilism and focuses on the idea that as an individual you have no control over your own fate, destiny or life.  Hardy is relieved that his misfortune and perdition is not of his own doing, but the choosing of a godly being that is more powerful than him.  This type of thinking alleviates the sense of accountability for ones actions, live and future.  This is a very dangerous theory of thought that can prove to be very destructive to the individual and to the people involved in their life.  In Hardy’s “Hap” he is saying that he has no control over the pain or gladness that he experiences in life which mitigates his own responsibility to take actions against pain, or to welcome happiness.  With this type of thinking it leads to a very sedentary and helpless reality.  In Hardy’s poem “Neutral Tones” he paints the drab picture of a 19th century break up on a bleak winter day.  In both of these poems the tone is set to be dark and dismal with no real inkling of a light at the end of the tunnel.  Both poems also allude to his helplessness and inability to control the situations that arise in his life.  
If I were to have the same dismal outlook of life as Thomas Hardy I would certainly cary myself differently.  I like to believe that I am the only person who has control of my life.  Life is a game of chance, but that is what makes it worth while and interesting.  My own personal philosophy to “succeeding”  in life is to be open to change, be willing to adapt and most of all you have got to roll with the punches. 

Wednesday, March 28, 2012