I'm a hopeless English major from UD

This is “The Waking” by Theodore Roethke, and it’s my favorite poem.

I wake to sleep, and take my waking slow.
I feel my fate in what I cannot fear.
I learn by going where I have to go.

We think by feeling. What is there to know?
I hear my being dance from ear to ear.
I wake to sleep, and take my waking slow.

Of those so close beside me, which are you?
God bless the Ground! I shall walk softly there,
And learn by going where I have to go.

Light takes the Tree, but who can tell us how?
The lowly worm climbs up the winding stair;
I wake to sleep, and take my waking slow.

Great Nature has another thing to do
To you and me, so take the lively air,
And, lovely, learn by going where to go.

This shaking keeps me steady, I should know.
What falls away is always. And is near.
I wake to sleep, and take my waking slow.
I learn by going where I have to go.

Toni Morrison says in Beloved of eating sweet corn, “There is no accounting for the way that simple joy can shake you.” Well, the same is true of experiencing a great poem. But, I’ll account anyway. G. K. Chesterton, in a lovely phrase, says, of a characters’ wife: she is “one of the five good faces of the earth.” I think that that line is justification enough for having five favorite lines in a poem.

“I learn by going where I have to go.” Either ‘I learn where I have to go (by going),’ or ‘By going where I have to go, I learn.’ Beautiful ambiguity of grammar. Does the verb ‘learn’ have an object? This line is enough to justify my spirit that traveling can be a wandering or gerrymeandering, not necessarily including a direct object. Too often, travelers are just sightseers, who go from place to place, with their schedule marked out for them and every hour of their trip planned out for them. From Tate: “The Bridge attempts to cover all American life, but it covers the ground with seven-league boots and, like a sightseer, sees nothing.” From Kundera, a question: “Where have they gone, the idlers of yesteryear?” His answer, from a Czech proverb: “They are gazing at God’s windows.” There is a slowness in this line that relates to the central question of this poem, which could be, ‘how do we reconcile ourselves to our inevitable death?’ By lingering, meandering, wandering, learning our fate by the process of learning itself. From Eudora Welty’s short story, “The Worn Path:” the object of that old lady’s journey is irrelevant; the journey itself is the point.

“I hear my being dance from ear to ear.” There is something real, being, that the poet feels between the ears, in the head, in the intellect. This suggests that there is something intelligible, thinkable, that can be grasped by feeling. Roethke has so many beautiful moments of dance in his poetry. I hear echoes of Milton’s profoundly sad and itself echoing line in Paradise Lost; “Senses return, but not to me return.” The echoing within Milton’s and Roethke’s lines reflects meaning, something that is intelligible, through the senses, and not just knowable: also enjoyable, in Roethke’s line: there is dancing in his head. Dancing kind of like that passage about shucking and eating sweet corn: “How loose the silk. How jailed down the juice…. How loose the silk. How quick the jailed-up flavor ran free…. How loose the silk. How fine and loose and free.”

“Light takes the Tree, but who can tell us how?” There is a receptiveness necessary to life; in order to learn, he must be taken by his senses, must allow unconsciousness to take him as the light takes the tree. A beautiful memory: abandoning Peter Bloch and Joe Amorella (not that that’s necessarily the beautiful part) sleeping under the walls of Saint Peter’s to go wandering at dawn, standing near the Tibur River opposite the Aventine Hill in Rome, the morning after staying up all White Night, actually seeing the light take the trees at the top and the tops of the many churches before it came down and took me, too.

“The lowly worm climbs up the winding stair.” This seems to be an odd line, but the poetic logic for it is already given: the image of light taking a tree thus imbuing it with meaning; the search for a grave. “I’m a worm, and not a man.” The knights of faith, as opposed to the knights of infinite resignation, are simple people, Kierkegaard says, who can “forget themselves and become something new.” They are like the butterfly, who “completely forgets that it was a caterpillar, and may in turn so completely forget that it was a butterfly that it may become a fish.” Faulkner: “My mother is a fish.” How does the light of thanatopsis take us? It takes us as like a worm climbs out of a mausoleum. Only by dying do we gain some kind of rebirth and resurrection to a new life; “life is but a dream, and that dream is bounded by a great sleep,” or words to that effect. But there is no immediate jump to the resurrection, no idea that life is something to be passed over as quickly as possible: “Great nature has another thing to do / To you and me, so take the lively air, and, lovely, learn by going where to go.” Words to that effect: “Let lovers go fresh and sweet to be undone, / and the heaviest nuns walk in a pure floating / of dark habits, keeping their difficult balance.”

“This shaking keeps me steady, I should know.” This, too, is one of the five good faces on the earth. Downing a couple pots of coffee, along with many iced mochas, my third sleepless night in a row. Desperately trying to finish my Senior Novel paper and my Faulkner paper and my History and Theory of the Novel paper. Desperately trying to keep a difficult balance, knowing that my very shaking due to the amount of caffeine and nicotine I was absorbing was keeping me awake and able to finish three papers in a night. Again, that ambiguity of the line when considered not as two phrases, but as one. Does “know” have an object? This shaking, this quivering, this quickening, this life, keeps us steady. We cannot think without feeling. We cannot die without living. We can’t be steady without shaking. This poem doesn’t nail down some question and answer, isn’t dogmatic. There is the melos that doesn’t emphasize the helping “should,” what “ought” or “needs” or “has” to be done (ah, that beautifully subjective subjunctive), but rather the acting verb: “I should know.” Know what? The poem doesn’t force its thanatopsis, its knowledge of death and the revelation of the resurrection that death brings upon us. It just presentifies, to steal a term from Borella, and asks to stand by itself. The poem doesn’t need a dogma directing it in order for us to learn from it. “I should know.”

From my favorite Psalm: “The dead don’t praise thee, O Lord, nor do they who go down into the inferno; / But we who live, bless the Lord, from this time now, and unto ages to come.”

I'm back in the States, despite a brief stay in Belford Hospital in Port William. Having time on my hands in the hospital, I was able to learn a new favorite poem ("I wake to sleep, and take my waking slow"), and, of course, think through a quick defense of music such as that produced by Slipknot and Rage Against the Machine. I owe my inspiration for the following to many drugs and to Glenn Cannon(!) Arbery.

To use the words of Nietzsche, Slipknot participates in the Dionysian element of tragedy: "an assured premonition of highest pleasure through destruction and negation." [To clarify, Nietzsche says this about Dionysian music in general, not about Slipknot in particular.] To summarize elements in The Birth of Tragedy that call to mind heavy metal, the Dionysian and the Apollinian (I use Kaufman's spelling to reflect the debt I owe to his thought), "appear coupled with each other, and through this coupling ultimately generate an equally Dionysian and Apollinian form of art--Attic tragedy." For Nietzsche, the Apollinian functions through beautiful images. It has vanquished the primal order of the Titans that ruled before. It is not, however, just a "healing;" it is also a type of "illusion:" Apollinian art hides from the viewer the brutal, primal terrors and energies that are hidden under the phenomenal world.

Dionysian art, on the other hand, functions through music. "Through music," says Nietzsche, "the viewer participates in an assured premonition of highest pleasure through destruction and negation, so he feels as if the innermost abyss of things spoke to him perceptibly;" this innermost abyss has a "hidden substratum of suffering and knowledge, revealed by the Dionysian."

What kind of knowledge do we gain from seeing the Oresteia, or from watching King Lear, or from attending a Slipknot concert? We do, as Aristotle says, achieve some kind of catharsis, or purging, of unclean emotions; yes; but, I think Nietzsche advances our understanding of the knowledge of tragedy even further: "the metaphysical joy in the tragic is a translation of the instinctive unconscious Dionysian wisdom into the language of images;" those who enter the Dionysian become, for a moment, "primordial being itself, feeling its raging desire for existence and joy in existence.... We are pierced by the maddening stings of these pains just when we have become, as it were, one with the joy in primordial existence, and when we anticipate, in Dionysian ecstasy, the indestructability and eternity of this joy." That is, Nietzsche doesn't say that only when fear and pity have been purged do we gain some kind of knowledge; no, "in spite of fear and pity, we are the happy living beings, not as individuals, but as the one living being, with whose creative joy we are united." This rapturous joy is something of what Dmitri lives in The Brothers Karamazov: "I'm a Karamazov. For when I do leap into the pit, I go headlong with my heels up, and am pleased to be falling in that degraded attitude, and pride myself upon it. And in the very depths of that degradation I begin a hymn of praise." I can't help but draw parallels between the Dionysian abyss and the Psalmist: "De profundis clamavi ad te Domine;" or Job, scraping his back with a potsherd; in such tragic moments, "Man, jack, joke, poor potsherd, / Patch, matchwood, immortal diamond, / Is immortal diamond."

This is all well and good and true for tragedy, but I guess I should at least try to suggest some parallels between tragedy and that things I like to listen to (sometimes).

There seems to be little of the Apollinian in metal, but the Apollinian image need not be beautiful in the way that we think of it normally: it is not "pretty." As Socrates says, sometimes, you have to tell your eyes, irresistably drawn to scenes of carnage, "All right then, fine, look and have your fill!" "Feed apace then, greedy eyes," agrees Samuel Daniel. The eyes are drawn to these images of pain and suffering, beautiful in their scenery of desctuction and begation. There are plenty of movements toward Appolinian, image-driven beauty in the music itself, and in the lyrics, of most heavy metal. To take just one example, there is that great section in the Rage song about Danny and Lisa: "They take me away from / The strangest places, / Sweet Danny and Lisa." Something translates the "strange" forces of the Dionysian abyss into sweet and Apollinian imagery. The entire song seems to suggest a translation of the primal forces of rock considered as just music (aural and Dionysian) into those forces being conveyed in a visual medium (Apollinian) as well: "Hey man, look at me rocking out: / I'm the radio; / Hey man, look at me rocking out, / I'm on the video."

For another parallel between the old tragedy of yore and the new tragedy of metal, I think of Wagner's theory of gesamptkunstwerk. Wagner wanted to combine all different mediums of art into his opera with a view towards creating true tragedy. Slipknot definitely embraces the operatic gesamptkunstwerk, shown most clearly by their live shows. They combine music enhanced by huge loudspeakers (aural art), painting in their backdrops, crazy light shows, and special effects (visual art), lyrics of a sort (poetry), and, of course, masks, drummers running all over their set, band members leaping into the mosh pit to crowd-surf, long and stringy hair thrashed to the beat of the music in the "heavy" sections of music... (theatrical, dramatic art).

The song "Psychosocial" provides an excellent example of the tragic hero as presented by the lyrics of the song. I wish I knew the lyrics to the verses so I could back this up even better, but just check the chorus: "The rain will kill us all, / We throw ourselves against the wall; / And no one else can see / The preservation of the martyr in me." Glenn Cannon says, "The tragic hero of the Dionysian [such as the character in "Psychosocial," and the members of Slipknot] is actually Dionysius himself undergoing in disguise the agony of appearing at all, having to be and act in a circumscribed and limited mode of being." Just as Nietzsche says that only the actors behind their masks truly face the tragic abyss, Slipknot acknowledges that "no one else can see the preservation of the martyr" in the characters that they assume.

To conclude, heavy metal today is actively participating in the genre of tragedy. All right, my drugs are wearing off, and I need bed.

"I wake to sleep, and take my waking slow. / I learn by going where I have to go."