That wild white wind that whips the world away –
The darkness deep and dread in dazzling day –
The light and dark that fuse with furious force –
The leaping tiger that gives no recourse –
Acknowledge, fear, that lurking tiger’s rage,
The terrifying sense of spring-taut powers,
Menacing, tail-tip twitching while it glowers,
Lethal both to ignore or to engage.
Acknowledge it, succumb: you’ve been rewarded.
And now produce – because the debt’s recorded.
This is the 7th of the 15 poems of the Snakeskin e-chapbook ‘Calling the Poem’. ‘The Tiger’ and the next few poems deal with the difficulties of first begging your Muse for inspiration and then finding that the inspiration is uncomfortable – personally, socially, politically, whatever. Perhaps the inspiration isn’t what you were hoping for… but what are your obligations once you have in effect contracted to receive something unknown?
The Muse, the gods, the unconscious or however you like to think of your source of inspiration is not to be trifled with. It is to be respected if you want to stay on good terms with it and benefit from it.
The word ‘music’, by the way, means Muse-ish, ‘of the Muses’. The following is blended from passages in Wikipedia: According to Pausanias in the later 2nd century AD, there were three original Muses, three original Boeotian muses before the Nine Olympian Muses were founded: Aoidē (“song” or “voice”), Meletē (“thought” or “contemplation”), and Mnēmē (“memory”). Together, these three form the complete picture of the preconditions of poetic art in cult practice.
So song, contemplation and memory are the Muses that together drive poetry. Poetry is totally Muse-ish. Therefore poetry is inherently musical. Its music is essential.
Photo: ‘Tiger’ by Captain Chickenpants is licensed under WordPress Openverse.