PostPoems Be Artistic. Be Creative. Be Inspired!

Keep at this good medicine.: Keep at this good medicine. Interested to see where it leads. My favorite line, thus far: "Anyways, when he took a breathe from all the bragging..."

Powerful ode to the meaning: Powerful ode to the meaning of a life dedicated to better days. We are so small, but small is still capable of something real.

Snoring, what a dilemma. We: Snoring, what a dilemma. We both snore and both rely on our respironic machines. So this distance is real even in the closeness of proximity. It's all too real at certain moments and whole periods.

Its not the same since you: Its not the same since you left us too Stella. We miss you so much xo 

Ouch! This stings, an: Ouch! This stings, an eloquent sting but but the ointment sooths, and death not as scary as the last impression... nice write cheerss

Dante was profoundly: Dante was profoundly influential in Eliot's work.  The first period of his career---from Prufrock through the Hollow Men (and most significantly in The Waste Land---was dominated by The Infeno.  When Eliot became a Christian, in 1927, his subsequent poems, including the early plays, seem to be dependent on the Purgatorio.  But the Four Quartets are definitely an effect of his reading of the Paradisio.  Just as major Europen poets (including Milton) had often organized their literary careers according to the pattern established by Vergil's three major works, Eliot seemed to followed the three parts of The Divine Comedy in establishing a kind of spiritual organization for his poems.  And I do not believe this was merely random circumstance:  Prufrock, his first published poem, begins with an epitaph from Inferno.  Little Gidding, the last of his major poems, contains a spiritual vision akin to the Paradisio.  I doubt that Eliot ever wrote a poem spontaneously, and every choice was part of an overall plan.  (If you have a chance, you should look into Valerie Eliot's publication of The Waste Land transcript---which is the original drafts of the poem, much longer than it was when finally published, and full of Eliot's and Pound's notations.  The poem, before Pound mangled it, was much different and much more elaborate than the bare skeleton that was left over.  When Pound, in 1970 or so, reviewed the original pages with Mrs. Eliot prior to the publication of her transcript of them, he is said to have begun weeping and asked, "Why oh why didn't he {Eliot] restore the cancelled lines?"  I think Pound realized, at the end, that the greatness of The Waste Land would have been far greater had it been published intact.     Sorry to have been so verbose.  I love talking about Eliot.

I'm afraid the poem's brevity: I'm afraid the poem's brevity has more to do with my bias toward short poems; as they often do, your comments elevate my words beyond the mere skill of their author. Thank you.