The Daily Poem

Today’s poem is Dana Gioia’s interpretive spin on a Rilke poem about (among other things) poetics.Dana Gioia is an internationally acclaimed poet and writer. Former California Poet Laureate and Chairman of the National Endowment for the Arts, Gioia was born in Los Angeles of Italian and Mexican descent. The first person in his family to attend college, he received a B.A. and M.B.A. from Stanford and an M.A. from Harvard in Comparative Literature. For fifteen years he worked as a businessman before quitting at forty-one to become a full-time writer.His surname is pronounced Joy-a.-bio via DanaGioia.com This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

Sylvia Plath (October 27, 1932 – February 11, 1963) was an American poet, novelist, and short story writer. She is credited with advancing the genre of confessional poetry and is best known for two of her published collections, The Colossus and Other Poems (1960) and Ariel (1965), and also The Bell Jar, a semi-autobiographical novel published shortly before her suicide in 1963. The Collected Poems was published in 1981, which included previously unpublished works. For this collection Plath was awarded a Pulitzer Prize in Poetry in 1982, making her the fourth to receive this honour posthumously.-bio via Wikipedia This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

John Keats was born in London on 31 October 1795, the eldest of Thomas and Frances Jennings Keats’s four children. Although he died at the age of twenty-five, Keats had perhaps the most remarkable career of any English poet. He published only fifty-four poems, in three slim volumes and a few magazines. But over his short development he took on the challenges of a wide range of poetic forms from the sonnet, to the Spenserian romance, to the Miltonic epic, defining anew their possibilities with his own distinctive fusion of earnest energy, control of conflicting perspectives and forces, poetic self-consciousness, and, occasionally, dry ironic wit.Although he is now seen as part of the British Romantic literary tradition, in his own lifetime Keats would not have been associated with other major Romantic poets, and he himself was often uneasy among them. Outside his friend Leigh Hunt‘s circle of liberal intellectuals, the generally conservative reviewers of the day attacked his work as mawkish and bad-mannered, as the work of an upstart “vulgar Cockney poetaster” (John Gibson Lockhart), and as consisting of “the most incongruous ideas in the most uncouth language” (John Wilson Croker). Although Keats had a liberal education in the boy’s academy at Enfield and trained at Guy’s Hospital to become a surgeon, he had no formal literary education. Yet Keats today is seen as one of the canniest readers, interpreters, questioners, of the “modern” poetic project-which he saw as beginning with William Wordsworth—to create poetry in a world devoid of mythic grandeur, poetry that sought its wonder in the desires and sufferings of the human heart. Beyond his precise sense of the difficulties presented him in his own literary-historical moment, he developed with unparalleled rapidity, in a relative handful of extraordinary poems, a rich, powerful, and exactly controlled poetic style that ranks Keats, with the William Shakespeare of the sonnets, as one of the greatest lyric poets in English.-bio via Poetry Foundation This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

Poet Christina Rossetti was born in 1830, the youngest child in an extraordinarily gifted family. Her father, the Italian poet and political exile Gabriele Rossetti, immigrated to England in 1824 and established a career as a Dante scholar and teacher of Italian in London. He married the half-English, half-Italian Frances Polidori in 1826, and they had four children in quick succession: Maria Francesca in 1827, Gabriel Charles Dante (famous under the name Dante Gabriel but always called Gabriel by family members) in 1828, William Michael in 1829, and Christina Georgina on 5 December 1830. In 1831 Gabriele Rossetti was appointed to the chair of Italian at the newly opened King’s College. The children received their earliest education, and Maria and Christina all of theirs, from their mother, who had been trained as a governess and was committed to cultivating intellectual excellence in her family. Certainly this ambition was satisfied: Maria was the author of a respected study of Dante, as well as books on religious instruction and Italian grammar and translation; Dante Gabriel distinguished himself as one of the foremost poets and painters of his era; and William was a prolific art and literary critic, editor, and memoirist of the Pre-Raphaelite movement. Christina became one of the Victorian age’s finest poets. She was the author of numerous books of poetry, including Goblin Market and other Poems (1862), The Prince’s Progress (1866), A Pageant (1881), and The Face of the Deep (1882).Rossetti’s poetry has never disappeared from view. Critical interest in Rossetti’s poetry swelled in the final decades of the twentieth century, a resurgence largely impelled by the emergence of feminist criticism; much of this commentary focuses on gender issues in her poetry and on Rossetti as a woman poet. In Rossetti’s lifetime opinion was divided over whether she or Elizabeth Barrett Browning was the greatest female poet of the era; in any case, after Browning’s death in 1861 readers and critics saw Rossetti as the older poet’s rightful successor. The two poets achieved different kinds of excellence, as is evident in Dante Gabriel Rossetti‘s comment on his sister, quoted by William Sharp in The Atlantic Monthly (June 1895): “She is the finest woman-poet since Mrs. Browning, by a long way; and in artless art, if not in intellectual impulse, is greatly Mrs. Browning’s superior.” Readers have generally considered Rossetti’s poetry less intellectual, less political, and less varied than Browning’s; conversely, they have acknowledged Rossetti as having the greater lyric gift, with her poetry displaying a perfection of diction, tone, and form under the guise of utter simplicity.-bio via Poetry Foundation This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

Today’s poem from Richard II tells “sad stories of the death of kings” and lowers the curtain on a week of Shakespearean speeches in verse. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

What do the world’s greatest playwright and Rome’s greatest mama’s boy have in common? Today’s poem–Volumnia pleading with her son in the final Act of Shakespeare’s Coriolanus. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

In today’s poem, the lovable cad, Sir John Falstaff, explains the dismal state of his troops (and the extra silver in his pocket). The speech is from Henry IV, Part 1, Act 4, Scene 2. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

Today’s poem is the “anti-To Be or Not To Be” speech from Act 3, Scene 1 of the underrated Measure For Measure. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

Today’s poem is an example of poetry we forget is poetry. Written in blank verse (unrhymed iambic pentameter), the opening prologue to Henry V calls the audience’s attention to the tension between the play’s grand and sweeping subject and the theater’s physical limitations. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

Today’s poem comes from Honey and Salt, the last collection Sandburg published before his death.“Trying to write briefly about Carl Sandburg,” said a friend of the poet, “is like trying to picture the Grand Canyon in one black and white snapshot.” His range of interests was enumerated by his close friend, Harry Golden, who, in his study of the poet, called Sandburg “the one American writer who distinguished himself in five fields—poetry, history, biography, fiction, and music.” -Poetry Foundation This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe