The relation of poetry to culture has been debated as far back as Plato's attack on Homer, through the Renaissance and the Puritan's Reformation, and continuing with the Romantic Shelly's Defense of Poetry and today's argument's for a core curriculum of great books. While our European-American traditions questions and argues, and has to teach poetry to sullen students in English classes, other cultures speaking Spanish, Russian, and Arabic, to say nothing of the many tongues of African and the India subcontinent, grow up inside poems, drenched through with poetic metaphors and rhythms. As we learn to criticize, to take a poem apart, to get its meaning, they learn to listen and to recite. By drawing this sharp contrast with other cultures, we are pointing to a defect in ours. Men blame their own lives for a deficiency in the culture. For, without the fanciful delicacy and the powerful truths that poems convey, our emotions and imagination flatten out. (Bly, p. xxix)
One of my life's transformational epiphanies took place on a miserably cold night in a bookstore in Cleveland when I stumbled upon this very volume of poems. I was in the midst of a complicated divorce looking for a distraction. Outside, the freezing rain mimicked my inner bleakness when I inadvertently (or so I thought) stumbled upon these words from Rilke:
Sometimes a man stands up during supper
and walks outdoors, and keeps on walking,
because of a church that stands somewhere in the East.
And his children say blessings on him as if he were dead.
And another man, who remains inside his own house,
dies there, inside the dishes and the glasses,
so that his children have to go far out into the world
toward that same church, which he forgot.
It was, for a time, as if I were in a trance. I don't know how long I went missing. All that was clear is that when I returned from who knows where, my heart had been warmed and those long-feared tears that freely ran down my face had become friends. Biblically, this was akin to what Job confessed to the Holy in the final chapter of that wisdom tale: Once I had heard, but now I know from the inside out. For twenty seven years I have cherished Bly's anthology for this awakening - giving it as gifts to countless other men struggling for light in the darkness - and continue to claim its contents as holy ground. My experience with poetry, however, seems to be shared all too rarely these days as all too often men and women move all too fast to linger in the land of poets yearning to freely share their hard won blessings with those who have eyes to see and ears to hear. Inevitably, our DNA insists that before we can see beyond the obvious, we must face a death, a descent, or some other depravation. Only then are we able to discern that our "time in the ashes" is simultaneously a searing loss as well as sacred portal to new life. Michael Blumenthal puts this positively in "A Man Lost By A River."
There is a voice inside the body.
There is a voice and a music,
a throbbing, four-chambered pear
that want to be heard, that sits
alone by the river with its mandolin
and its torn coat, and sings
for whoever will listen
a song that no one wants to hear.
But sometimes, lost,
on his way to somewhere significant,
a man in a long coat, carrying
a briefcase, wanders into the forest.
He hears the voice and the mandolin,
he sees the thrust and the dandelion,
and he feels the mist rise over the river.
And his life is never the same,
for this having been lost -
for having strayed from the path of his routine,
for no good reason.
Rumi offers an ironic take on the path of descent.
Who makes these changes?
I shoot an arrow right.
It lands left.
I ride after a deer and find myself
chased by a hog.
I plot to get what I want
and end up in prison.
I dig pits to trap others
and fall in.
I should be suspicious
of what I want.
And Goethe covers the same terrain in tragedy in Bly's translation of "The Invisible (or Erl) King":
Who rides at night, who rides so late?
The father rides on, his child in his arms.
His arms are curled and firm round the boy,
He keeps him from falling, he keeps him warm.
"My boy, why is it you hide your face?
"Dad, over there do you see the King?
The Invisible King with ermine and staff?"
"Dear boy, what you see is a rolling mist.
"HEY THERE, MY BOY, COME ALONG WITH ME! there, my boy, come along I HAVE THE NEATEST GAMES YOU'LL EVER SEE.
ON THE SHORE MY DAISES BLOW IN A LINE.
MY MOTHER HAS SHIRTS ALL GOLDEN AND FINE."
"Dad, is it true you don't hear at all
The little gifts the King is offering me?"
"Calm down, my boy, no need for all this -
It's a dry oak leaves making noise in the wind."
'CHILD, GOOD CHILD, DO YOU WANT TO GO?
MY DAUGHTERS WILL CARE AND WAIT ON YOU, SO.
THE GREAT CIRCLE DANCE THEY DO EVERY NIGHT,
THEY'LL SING AND DANCE AND TUCK YOU IN TIGHT."
"Dad, it worries me that you don't see
The Daughters there at that ugly spot."
"I see the spot very clearly, my boy -
An old gray willow, that's all there is."
"YOUR BODY IS SLIM, AND I LOVE YOU
COME NOW, OR SEIZE YOU IS WHAT I'LL DO."
"Dad Listen, please Dad, he's got hold of me!
He's done something bad to me, he has!"
The terrified father rides wilder and wilder;
The boy i now groaning as he sits slumped over;
In grief and fear at last the father got home.
The boy lay dead in the father's arms.
Bly suggests that in the wisdom of the romantic era, "the rationalist father denies, frantically, any suggestion of the 'other realm' or the spiritual world, and the result is that his son dies. This poem is a miniature history of Europe." I would add it is also an agonizing example of our current addiction to an ethics of atavism which lures us towards the lowest common denominator and starves our souls of tenderness in the process. When everything and every one becomes a commodity destined for purchase, God's inclination to help us evolve beyond our most primal urges is twarted.
The curious thing is that the passionate way of teaching that was once vital to Western culture is thriving right now—but outside of the West. In the US, the insiders who speak candidly will tell you that the humanities is in crisis. You can measure it in many ways—declining enrollment, shrinking departments, poor test results, increased cheating, resistance to reading, etc. All the metrics are bad. But that’s not what’s happening in China. The study of western culture is in the ascendancy there. You could even say it’s hot and trendy...there are good reasons why Chinese scholars take Western culture very seriously. They live in a world where discussing ideas is a dangerous vocation. The whole tradition of democracy and human flourishing, which we inherited from the ancient Greeks, is taken for granted in the West (foolishly, I must add, because it’s quite vulnerable right now). But these things are more obviously fragile and elusive in China. So when Chinese scholars grapple with the classic works of the Western canon, they are dealing with matters of life and death.