{"id":100312,"date":"2016-07-19T14:30:56","date_gmt":"2016-07-19T18:30:56","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=100312"},"modified":"2016-07-21T11:17:42","modified_gmt":"2016-07-21T15:17:42","slug":"five-public-cases","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/07\/19\/five-public-cases\/","title":{"rendered":"Five Public Cases"},"content":{"rendered":"

What is poetry for?\u00a0<\/em><\/p>\n

\"madrid2\"<\/a>

Page from The Consolation of Philosophy<\/i> (detail), by Boethius, 1395.<\/p><\/div>\n

Note: Earlier this year, Anthony Madrid began composing\u00a0quasi-<\/em>koans on the theme \u201cWhat is poetry for?\u201d a first collection of which was published\u00a0in the summer\u00a0issue of <\/a><\/em>The Point<\/a>. This post includes the first of two sets of additional <\/em>gongan, or public cases, that will appear during his stint as a <\/em>Daily correspondent. The second set will appear in September. (The original title of this piece, too long even for the infinite web, was: \u201cBoth Speech and Silence Are Involved in Transcendent Detachment and Subtle Wisdom. How Can We Pass Through Without Error?\u201d)<\/em>\u00a0<\/p>\n

Public Case 1<\/strong><\/p>\n

A fool said: \u201cI shall define for you all the Mystery of Art. It is that despite all our experience and despite all our philosophy, we do not know how to make good art. We can make art, we can do our best, we can work whatever magic is at our disposal. But we cannot simply decide to make it good.<\/p>\n

\u201cYou would think somebody\u00a0who wrote\u00a0a good song ten minutes ago would be specially qualified to write another.\u00a0She just did it<\/i>, so she must know how. Except she doesn\u2019t. She knows how to make a song, that\u2019s all. She makes it and hopes it turns out. This, and none other, is the Mystery of Art.\u201d \u00a0<\/p>\n

Comment.<\/strong> If it is the great joy of the wise to make fools of others, perhaps it is also the great joy of fools to make others wise. If so, the person quoted above was no fool. She must have been one of those wily persons who style themselves fools the better to catch people out. But I want to ask you: Who is really exposed here?<\/p>\n

Are we to imagine that the\u00a0mystery\u00a0of cooking is that we do not always have access to the necessary ingredients? And I suppose the mystery of gravity is that it cannot be used to boil water.<\/p>\n

* \u00a0<\/p>\n

Public Case 2<\/strong><\/p>\n

One of the students said: \u201cThere is an old paradox that goes,\u00a0The person who writes a novel cannot write a poem, but whoever writes a poem can certainly write a novel.\u00a0<\/i>I don\u2019t understand that.\u201d<\/p>\n

Our teacher said: \u201cPoetry, unlike prose, demands a primary commitment. She will not be a mistress. She will\u00a0tolerate<\/i>\u00a0a mistress, but she will not be one. This is the meaning.\u201d \u00a0<\/p>\n

Comment.<\/strong> Nobody in real life tolerates mistresses. The teacher is probably a double agent. Anyhow, his\u00a0<\/i>primary commitment is obviously to novels and storybooks. Superheroes.<\/p>\n

Meanwhile, it\u2019s easy to prove that the paradox the student cites must have been coined sometime in the\u00a0past\u00a0hundred years. Why does she try to pass it off as something old?<\/p>\n

The teacher tries to pass off writing as sex. The student tries to pass off now as forever. And everyone is always protecting something. This is how we go astray.<\/p>\n

* \u00a0<\/p>\n

Public Case 3<\/strong><\/p>\n

Our new teacher, attractive, humorous, perpetually in the wrong, said: \u201cMy new phrase is\u00a0poets who get you right where they want you<\/i>. It means poets who do it for you so much you don\u2019t really mind when they don\u2019t. You don\u2019t\u00a0praise<\/i>\u00a0their bad poems, you just ignore \u2019em.\u00a0Emily\u00a0Dickinson is like this for most people. Her inert poems don\u2019t bother anybody.<\/p>\n

\u201cI\u2019m doing a lot of work lately, trying to teach myself not to be a baby when poets let me down. It\u2019s just fate\u2014you get let down. The thing is to find the\u00a0poets who get you right where they want you, so you don\u2019t even know you\u2019re being let down. Or just barely.\u201d \u00a0<\/p>\n

Comment.<\/strong> A venerable sage who is hardly ever listened to today once defined happiness as \u201cthe possession of being well deceived, the serene peaceful state of a fool among knaves.\u201d If the sage is right, the attractive teacher is urging us toward felicity. But one may be forgiven for noting that our friends much more routinely annoy us with their enthusiasms than with their negative evaluations. I want to say that our friends\u2019 tendency to worship poets may indeed do these friends a world of good, but, unluckily, when they enter into conversation, they vex, exhaust, and contribute to the \u201cgeneral degradation of human testimony.\u201d \u00a0<\/p>\n

* \u00a0<\/p>\n

Public Case 4<\/strong><\/p>\n

A student\u2014intransigent, gloomy, and universally disliked\u2014was grandstanding. He snatched up a Complete Shakespeare<\/em> and read a random speech, heavily stressing every other syllable, in a way that no actor would. He said: \u201cNo one wants it read that way, so what does it matter that it\u00a0can<\/i>\u00a0be? The so-called iambic pentameter in these plays is stupid. Surely the poet could have spared himself the trouble … \u201d \u00a0<\/p>\n

Everyone was angry. Someone said: \u201cYou are behaving as if meter is either the absurd thing you just did or nothing. What about performing the lines with some subtlety?\u201d<\/p>\n

The grandstanding student said: \u201cThat\u2019s just it. The meter is so subtle it\u2019s beneath the range of human perception. You wouldn\u2019t notice if it were gone. I\u2019ll prove it.\u201d He then read, in an actorly style, two speeches from the same play, one in verse and one in prose, and challenged the person who had called for subtlety to distinguish. The person hesitated.<\/p>\n

\u201cYou see! You can\u2019t tell the difference!\u201d \u00a0<\/p>\n

Comment.<\/strong> Driven to gloom and intransigence by the way prosody is taught, our vexing student becomes what he ought to hate: a scold. However: if it may be asserted that everyone else in that class loved poetry a great deal more than truth, it can also be said nobody loved poetry more than the scold. \u00a0<\/p>\n

* \u00a0<\/p>\n

Public Case 5<\/strong><\/p>\n

Our old teacher, clearly speaking from personal experience, said: \u201cI shall speak in a parable. A little boy was playing with his grandfather. The grandfather was amusing himself by stealing the boy\u2019s nose and making him cry. Years later, the boy\u2019s mother reminded him of this, joyously marveling at how stupid children are. The little boy, now grown, said:\u00a0Can\u2019t you see I was not crying at having my nose stolen but at the disgusting spectacle of my beloved grandfather wanting to see me cry?<\/i>\u201d<\/p>\n

One of the students said: \u201cYou are going to assert that this is the real objection to [a\u00a0notoriously abrasive and provocative poet]. His fault lies not in the particulars of what he says, but in the fact that he clearly and evilly wants to make us cry.\u201d \u00a0<\/p>\n

Comment.<\/strong> The old teacher supposed that it was disappointment in his grandfather\u2019s morals that prompted those memorable tears. But I wonder if it were not rather the case that he was insulted by his grandfather\u2019s low supposal of his intelligence, imagining it was possible to make a fool of him in this infantile way. At any rate, for every drop of salt water shed on account of moral disappointment, a large bucket\u2019s worth is loosed by wounded vanity.\u00a0<\/p>\n

And the same goes for the other thing.<\/p>\n

Anthony Madrid\u00a0lives in Chicago. His poems have appeared in <\/em>Best American Poetry 2013,\u00a0<\/em>Boston Review, <\/em>Fence, <\/em>Harvard Review, <\/em>Lana Turner,<\/em> LIT,<\/em> and<\/em> Poetry. His first book is called<\/em> I Am Your Slave Now Do What I Say\u00a0<\/i>(Canarium Books, 2012).\u00a0He is a correspondent for the\u00a0<\/em>Daily.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

What is poetry for?\u00a0 Note: Earlier this year, Anthony Madrid began composing\u00a0quasi-koans on the theme \u201cWhat is poetry for?\u201d a first collection of which was published\u00a0in the summer\u00a0issue of The Point. This post includes the first of two sets of additional gongan, or public cases, that will appear during his stint as a Daily correspondent. […]<\/p>\n","protected":false},"author":1005,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[22700],"tags":[22908,23084,938,23238,10757,23219,22944,7403,5862,165,11693,4342,23239,23237,23220],"class_list":["post-100312","post","type-post","status-publish","format-standard","hentry","category-our-correspondents","tag-anthony-madrid","tag-boethius","tag-chicago","tag-intellectualism","tag-intellectuals","tag-koans","tag-our-correspondents","tag-philosophy","tag-plato","tag-poetry","tag-socrates","tag-teacher","tag-the-mystery-of-art","tag-the-point","tag-what-is-poetry-for"],"acf":[],"yoast_head":"\nWhat Is Poetry For?<\/title>\n<meta name=\"description\" content=\"A collection of quasi-k\u014dans on the theme \u201cWhat is poetry for?\u201d\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" 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