Tag Archives: Hamlet

Weekend read: David Galef, ‘A Question of Emphasis’ or ‘Wanna Make Something of It?’

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“poetry makes nothing happen . . . .”
—W. H. Auden, “In Memory of W. B. Yeats”

Poetry makes nothing happen.
Song lyrics, on the other hand,
Wedge into people’s hearts
When sung by a heartthrob band.

Poetry makes nothing happen.
It doesn’t enforce a cause.
That’s the way of propaganda,
With all its fixed applause.

Poetry makes nothing happen.
But I’ve seen something sublime
In the eyes of a student reading
Eliot’s Prufrock the first time.

Poetry makes nothing happen.
But must events take place
For poems to be eventful—
To make a normal pulse race?

*****

David Galef writes: “This poem was inspired by the memory of a graduate seminar taught by Edward Mendelson, a professor at Columbia University and the executor of the Auden estate. What Mendelson doesn’t know about Auden probably isn’t worth knowing, and what he brought to the study of Auden’s poetry was a deep knowledge of technique, context, and Auden’s modus cogitandi. Tired of those who quoted Auden’s famous line from “In Memory of W. B. Yeats” to indicate the inutility of poetry, Mendelson pointed out that the significance of “For poetry makes nothing happen” is more a point about art versus propaganda. The emphasis shouldn’t be on “nothing” but on “makes.” The aim of agitprop is to make all minds bend in one direction. True art, on the other hand, doesn’t force one meaning on the audience, though it may be powerfully suggestive. As Auden continues (and people who quote often omit surrounding words),
“it survives
In the valley of its making where executives
Would never want to tamper, flows on south
From ranches of isolation and the busy griefs,
Raw towns that we believe and die in; it survives,
A way of happening, a mouth.”
Poetry does indeed enjoy a special, immortal status, but those who want it to be a crowd-controlling megaphone will probably be disappointed.
What I wanted to accomplish in ‘A Question of Emphasis’ is just what stressing the right
word can do, and how poetry can change lives, in its own way.”

David Galef has published over two hundred poems in magazines ranging from Light and Measure to The Yale Review. He’s also published two poetry volumes, Flaws and Kanji Poems, as well as two chapbooks, Lists and Apocalypses. In real life, he directs the creative writing program at Montclair State University.
www.davidgalef.com

Editor: I can’t help adding this 6-minute exposition of emphasis from Hamlet: https://vk.com/video17165_456239062 with its star-studded cast… Enjoy!

Photo: “Nothing happened” by Graham Ó Síodhacháin is licensed under CC BY-SA 2.0.

Potcake Poet’s Choice: D.A. Prince, ‘Horatio’

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Always in shadow, on the edge, the light
falling on someone else. I’m used to it—
fidus Achates, and half-acolyte.
Besides, the sidelines are a safer bet
so I survive—at least, upon the page,
though never in imagination.
The curtain falls: I vanish with the stage.
Even Rosencrantz and Guildenstern live on
in other times but I—the dutiful
and sober pal, the philosophic friend—
dissolve. I fade. Meanwhile, the beautiful
capture your soul beyond the play’s neat end
where I’m to set, with due fidelity,
the record straight. You won’t remember me.

From: Common Ground, HappenStance Press, 2014.

D.A. Prince writes: “In the middle of a lively debate about which actor had played the definitive Hamlet, I realised I had no memory at all of any actor playing Horatio. There would have been an equal number, obviously. Horatio is on Elsinore’s battlements in the opening scene, questioning the existence of ghosts, and he’s there in the final scene, surrounded by corpses, giving the penultimate speech. In between he hovers in Hamlet’s shadow, necessary but—if I’m a typical theatre-goer—unmemorable. He doesn’t even get to cross the stage in Tom Stoppard’s Rosencrantz and Guildenstern are Dead. The world is full of people like Horatio so I thought I would give him a brief
acknowledgement: for turning up, for hanging on, for being there.”

D A Prince lives in Leicestershire and London. Her first appearances in print were in the weekly competitions in The Spectator and New Statesman (which ceased its competitions in 2016) along with other outlets that hosted light verse. Something closer to ‘proper’ poetry followed, with three pamphlets, followed by a full-length collection, Nearly the Happy Hour, from HappenStance Press in 2008. A second collection, Common Ground, (from the same publisher) followed in 2014 and this won the East Midlands Book Award in 2015. HappenStance published her pamphlet Bookmarks in 2018 and will bring out a further collection in 2022. There’s just the little matter of a title to resolve first.

Illustration: Hamlet and Horatio in the Graveyard (Eugène Ferdinand Victor Delacroix)