memory

Adrian Oktenberg: On "The Negro Speaks of Rivers"

The identification of Hughes as a folk poet obscures the fact that he is a brilliant poet of ideas, and radical ideas at that. The concepts of negritude and soul, the politics of Black Power, the psychology of black rage, are so familiar to children of the sixties that it comes almost as a shock to realize that Hughes was presenting articulate and concrete images of them in his poetry in the twenties and thirties. While these ideas did not originate with him, he embodied them in verse of such fluency and power that it seems undated half a century later. Moreover, he consistently combined them with the basic premises of revolutionary socialism, and this sympathy is evident--hard to miss--in his work not only of the thirties but to the end of his life.

"The Negro Speaks of Rivers," then, is only the beginning of a long chain of poems by Hughes which confront, distill, extend, and transform the historical experience of black people into an art both limpid and programmatic. As in all of Hughes' hallmark poems, its distillation is as extreme as any in Issa's haiku. The "I" of the poem is not that of "a" Negro but "the" Negro, suggesting the whole of the people and their history. Most of the consonants--d's, n's, l's, s's—are soft, and of the vowels, long o's reoccur, contributing by sound the effect of an ancient voice. The tone of the repeated declarative sentences is muted, lulling. Every element of the poem combines to suggest that when the Negro speaks of rivers it is with the accumulated wisdom of a sage. The function of a sage is to impart the sometimes secret but long accumulated history of a people to its younger members so that they might make the lessons of the past active in the future. This impartation occurs in the central stanza of the poem:

I bathed in the Euphrates when dawns were young.

I built my hut near the Congo and it lulled me to sleep.

I looked upon the Nile and raised the pyramids above it.

I heard the singing of the Mississippi when Abe Lincoln went 

    down to New Orleans, and I've seen its muddy bosom 

    turn all golden in the sunset.

Moving by suggestion, by naming particular rivers and particular activities performed nearby, the poem implicates the whole history of African and American slavery without ever articulating the word. "I bathed in the Euphrates" and "I built my hut near the Congo" are the normal activities of natural man performed in his natural habitat. That may be an unnecessarily anthropological way of putting it, but the lines are the equivalent of the speaker having said, "I made my life undisturbed in the place where I lived." The shift--and the lesson--occurs in the next two lines. Raising the pyramids above the Nile was the act of slaves, and if ever "Abe Lincoln went down to New Orleans," it would have been in the context of American slavery and the Civil War. Implicit in the history of a people who had first been free and then enslaved is the vision of freedom regained, and therein lies the program. The final line of the poem, "My soul has grown deep like the rivers," suggests wisdom in the word "deep." The wisdom imparted by the poem, beyond the memory of the suffering of slavery, includes a more deeply embedded memory of freedom. This is perhaps the more powerful memory, or the more sustaining one, and even if deferred, will reemerge in one form or another.

From "From the Bottom Up: Three Radicals of the Thirties." In A Gift of Tongues: Critical Challenges in Contemporary American Poetry. Ed. Marie Harris and Kathleen Aguero. Copyright © 1987 by The University of Georgia Press

Edward Brunner: On "Sun and Rain"

At its most effective, the caesura allows a degree of movement simply unavailable in verse with only one kind of pause within it. It allows for levels of activity within the activity promised by the individual line. Moreover, the flexibility of the caesura allows for exchanges of position: midway through the line, when we anticipate a weak turn, we may experience a strong one, and the reverse can happen at the end of the line. The line can turn intense or grow slack, within itself, according to the poem as it is shaped.

The immense advantage of the variable caesura, then, is that it can orchestrate such a minor turn--not strong enough to deserve an entire line to itself yet indicating a distinct shift. Its inflection can be reserved for the turn that occurs within memory, the turn less active than the major turns unfolding as the poem develops. Although the caesura is exclusively associated with verse and related to the fundamental verse unit, the line break, it allows Merwin to borrow a feature from the spaciousness of prose: syntax can now be used adroitly, in the form of the prepositional phrase, to downplay turns, to render them less active.

One poem that draws on phrasings that might be considered weak, yet that serve to orchestrate the poet's feelings most precisely, is "Sun and Rain." In the first stanza, the last halves of the lines form around prepositional phrases, weak turns that present Merwin's movement back into the past "after five years." In general, active statements begin after the line break, honoring its greater authority ("I find that," "looking down," and "hearing the current") while the afterthoughts, the deepening downward pull towards the past, occur in prepositional phrases that follow the caesura. Merwin conveys the sudden downward spiral of being overtaken by a memory of sorrow; the softening into darkness is palpable as we move from "a bright window" to the image of his mother looking "at dusk into a river" and "hearing the current as hers."

Against this emerges the saving gesture of the second stanza-- hands held out for another and clinging to a long moment on the edge of death. The strength in the gesture is kept up in the forthright clauses that now begin to dominate and even spill over beyond the boundary of the caesura. This in turn leads back to the present, with the vivid movement of creatures that "turn uphill" in "a band of sunlight" and stand "as the dark rain touches them," as the hands of his mother and father once touched. It is a complex surrogate moment, in which Merwin's longing to reach out to his own mother is answered by this recollected moment in which his father had been able to overcome his own hesitancy to extend his hand to hers, and then comforted further by this encompassing vision of sun and rain mingling together. The vision is a gift much as his father's gesture was a gift to his mother: it keeps that gesture alive and recovers it for the present.

Marjorie Perloff: On "The Asians Dying"

It is, I think, this blend of strangeness and a clear-sighted literalness that makes a poem like "The Asians Dying" memorable. Consider the lines

Rain falls into the open eyes of the dead Again again with its pointless sound When the moon finds them they are the color of everything

We don't usually think of rain falling precisely into open eyes, let alone "the open eyes of the dead." The image is an odd one and yet the third line has a kind of photographic accuracy: in the moonlight, the dead bodies, clothed in khaki, would indeed blend with the colors of the forest ground, and so theirs is "the color of everything." Add to this the irony--a rather heavy-handed irony, I think--of Merwin's implication that, in our world, the color of death has become "everything" and you have an intricate enough layering of meanings, which is not to say that Merwin's construction is in any way radical or subversive. Indeed, I submit that nothing in "The Asians Dying" has the startling modernity of

I was neither at the hot gates Nor fought in the warm rain Nor knee deep in the salt marsh, heaving a cutlass, Bitten by flies, fought.

Cary Nelson has rightly noted Merwin's debt to Eliot, but it is a good question whether "Gerontion" doesn't capture what Lieberman calls "the peculiar spiritual agony of our time" at least as well as do poems like "The Asians Dying."

By Marjorie Perloff. From W.S. Merwin: Essays on the Poetry. Ed. Cary Nelson and Ed Folsome. Copyright 1987 by the Board of Trustees of the University of Illinois.