NationStates Jolt Archive

Who's the greatest British/Irish poet of all time?

feel free to post poetic excerpts here to justify your claim.

poll will follow shortly

I am the greatest British poet of all time.

I'm going to say Lord Byron...because the road I live on is named after him, and because he had a pet bear at university as dogs weren't allowed.

Keats:

When I have fears that I may cease to be
Before my pen has glean'd my teeming brain,
Before high - piled books, in charact'ry,
Hold like rich garners the full-ripen'd grain;
When I behold, upon the night's starr'd face,
Huge cloudy symbols of a high romance,
And feel that I may never live to trace
Their shadows, with the magic hand of chance;
And when I feel, fair creature of an hour!
That I shall never look upon thee more,
Never have relish in the faery power
Of unreflecting love;—then on the shore
Of the wide world I stand alone, and think,
Till Love and Fame to nothingness do sink.

I'm going to say Lord Byron...because the road I live on is named after him, and because he had a pet bear at university as dogs weren't allowed.

Nah, I kick Byron's fat arse.

Yeats...although Tennyson is a very close second.

"Had I the heavens' embroidered cloths,
Enwrought with golden and silver light,
The blue and the dim and the dark cloths
Of night and light and the half light,
I would spread the cloths under your feet:
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams."

I'm going to say Lord Byron...because the road I live on is named after him, and because he had a pet bear at university as dogs weren't allowed.

to boot, he wrote a great poem (one of his best probably) about a dead dog

Nah, I kick Byron's fat arse.
Ah, but would you say that to his bear?

Ah, but would you say that to his bear?

What does his mother have to do with anything?

Yeats...although Tennyson is a very close second.

this one's for you then:

Yeats - When You Are Old


When you are old and grey and full of sleep,
And nodding by the fire, take down this book,
And slowly read, and dream of the soft look
Your eyes had once, and of their shadows deep;
How many loved your moments of glad grace,
And loved your beauty with love false or true,
But one man loved the pilgrim Soul in you,
And loved the sorrows of your changing face;
And bending down beside the glowing bars,
Murmur, a little sadly, how Love fled
And paced upon the mountains overhead
And hid his face amid a crowd of stars.

Tennyson -- The Charge of the Light Brigade

Half a league, half a league,
Half a league onward,
All in the valley of Death
Rode the six hundred.
'Forward, the Light Brigade!
Charge for the guns!' he said:
Into the valley of Death
Rode the six hundred.

'Forward, the Light Brigade!'
Was there a man dismay'd ?
Not tho' the soldier knew
Some one had blunder'd:
Their's not to make reply,
Their's not to reason why,
Their's but to do and die:
Into the valley of Death
Rode the six hundred.

Cannon to right of them,
Cannon to left of them,
Cannon in front of them
Volley'd and thunder'd;
Storm'd at with shot and shell,
Boldly they rode and well,
Into the jaws of Death,
Into the mouth of Hell
Rode the six hundred.

Flash'd all their sabres bare,
Flash'd as they turn'd in air
Sabring the gunners there,
Charging an army, while
All the world wonder'd:
Plunged in the battery-smoke
Right thro' the line they broke;
Cossack and Russian
Reel'd from the sabre-stroke
Shatter'd and sunder'd.
Then they rode back, but not
Not the six hundred.

Cannon to right of them,
Cannon to left of them,
Cannon behind them
Volley'd and thunder'd;
Storm'd at with shot and shell,
While horse and hero fell,
They that had fought so well
Came thro' the jaws of Death,
Back from the mouth of Hell,
All that was left of them,
Left of six hundred.

When can their glory fade?
O the wild charge they made!
All the world wonder'd.
Honour the charge they made!
Honour the Light Brigade,
Noble six hundred!

Wordsworth -- I Wandered Lonely As A Cloud


I wandered lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils,
Beside the lake, beneath the trees
Fluttering and dancing in the breeze.

Continuous as the stars that shine
And twinkle on the Milky Way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance
Tossing their heads in sprightly dance.

The waves beside them danced, but they
Out-did the sparkling waves in glee: -
A poet could not but be gay
In such a jocund company:
I gazed -and gazed -but little thought
What wealth the show to me had brought.

For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills
And dances with the daffodils.

DH Lawrence -- The Elephant Is Slow to Mate

The elephant, the huge old beast,
is slow to mate;
he finds a female, they show no haste
they wait

for the sympathy in their vast shy hearts
slowly, slowly to rouse
as they loiter along the river-beds
and drink and browse

and dash in panic through the brake
of forest with the herd,
and sleep in massive silence, and wake
together, without a word.

So slowly the great hot elephant hearts
grow full of desire,
and the great beasts mate in secret at last,
hiding their fire.

Oldest they are and the wisest of beasts
so they know at last
how to wait for the loneliest of feasts
for the full repast.

They do not snatch, they do not tear;
their massive blood
moves as the moon-tides, near, more near
till they touch in flood.

Elizabeth Barrett Browning:

How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace.
I love thee to the level of everyday's
Most quiet need, by sun and candle-light.
I love thee freely, as men strive for Right;
I love thee purely, as they turn from Praise.
I love thee with the passion put to use
In my old griefs, and with my childhood's faith.
I love thee with a love I seemed to lose
With my lost saints, -I love thee with the breath,
Smiles, tears, of all my life! - and, if God choose,
I shall but love thee better after death.

No Shakespeare?
Anybody who writes a poem is a poet.

this one's for you then:

Yeats - When You Are Old


When you are old and grey and full of sleep,
And nodding by the fire, take down this book,
And slowly read, and dream of the soft look
Your eyes had once, and of their shadows deep;
How many loved your moments of glad grace,
And loved your beauty with love false or true,
But one man loved the pilgrim Soul in you,
And loved the sorrows of your changing face;
And bending down beside the glowing bars,
Murmur, a little sadly, how Love fled
And paced upon the mountains overhead
And hid his face amid a crowd of stars.

LOVE that poem! Always have. I think, perhaps, the thing that British poets, and even moreso with Irish poets, have over American poets is a greater command of the power of imagery. By and large, American poets are very straightforward, saying what they have to say and getting out. Of course, there are many exceptions to this rule. But it does seem that British and Irish poets all have such strong naturalistic images running throughout their work that I don't think it's a mistake to note it as a distinct characteristic of the work.

I mean, Robert Burns has such simple and yet powerful imagery that even what might seem like a throw away song resonates with you years afterwards.

O my Luve's like a red, red rose,
That's newly sprung in June:
O my Luve's like the melodie,
That's sweetly play'd in tune.

As fair art thou, my bonie lass,
So deep in luve am I;
And I will luve thee still, my dear,
Till a' the seas gang dry.

Till a' the seas gang dry, my dear,
And the rocks melt wi' the sun;
And I will luve thee still, my dear,
While the sands o' life shall run.

And fare-thee-weel, my only Luve!
And fare-thee-weel, a while!
And I will come again, my Luve,
Tho' 'twere ten thousand mile!

yeats:I will arise and go now,and go to Inisfree,
and a small cabin build there,of clay and wattles made:
Nine bean rows will I have there, a hive for the honey bee,
and live alone in the bee-loud glade.

And I shall have some peace there,for peace comes dropping slow,
dropping from the veils of the morning to where the Cricket sings;
There midnight's all a glimmer, and noon a purple glow,
and evening full of the Linnit's wings.

I will arise and go now,for always night and day,
I hear lake waters lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements grey,
I hear it in the deep heart's core.



WHAT need you, being come to sense,
But fumble in a greasy till
And add the halfpence to the pence
And prayer to shivering prayer, until
You have dried the marrow from the bone; 5
For men were born to pray and save:
Romantic Ireland’s dead and gone,
It’s with O’Leary in the grave.

Yet they were of a different kind
The names that stilled your childish play, 10
They have gone about the world like wind,
But little time had they to pray
For whom the hangman’s rope was spun,
And what, God help us, could they save:
Romantic Ireland’s dead and gone, 15
It’s with O’Leary in the grave.

Was it for this the wild geese spread
The grey wing upon every tide;
For this that all that blood was shed,
For this Edward Fitzgerald died, 20
And Robert Emmet and Wolfe Tone,
All that delirium of the brave;
Romantic Ireland’s dead and gone,
It’s with O’Leary in the grave.

Yet could we turn the years again, 25
And call those exiles as they were,
In all their loneliness and pain
You’d cry ‘Some woman’s yellow hair
Has maddened every mother’s son’:
They weighed so lightly what they gave, 30
But let them be, they’re dead and gone,
They’re with O’Leary in the grave.

LOVE that poem! Always have. I think, perhaps, the thing that British poets, and even moreso with Irish poets, have over American poets is a greater command of the power of imagery. By and large, American poets are very straightforward, saying what they have to say and getting out. Of course, there are many exceptions to this rule. But it does seem that British and Irish poets all have such strong naturalistic images running throughout their work that I don't think it's a mistake to note it as a distinct characteristic of the work.

I mean, Robert Burns has such simple and yet powerful imagery that even what might seem like a throw away song resonates with you years afterwards.

O my Luve's like a red, red rose,
That's newly sprung in June:
O my Luve's like the melodie,
That's sweetly play'd in tune.

As fair art thou, my bonie lass,
So deep in luve am I;
And I will luve thee still, my dear,
Till a' the seas gang dry.

Till a' the seas gang dry, my dear,
And the rocks melt wi' the sun;
And I will luve thee still, my dear,
While the sands o' life shall run.

And fare-thee-weel, my only Luve!
And fare-thee-weel, a while!
And I will come again, my Luve,
Tho' 'twere ten thousand mile!

yeah, Burns also wrote Auld Lang Syne... the first verse of which I understand. I don't have a clue what he's talking about in verses 2+... sounds like drivel.

John Donne - The Bait

COME live with me, and be my love,
And we will some new pleasures prove
Of golden sands, and crystal brooks,
With silken lines and silver hooks.

There will the river whisp'ring run
Warm'd by thy eyes, more than the sun ;
And there th' enamour'd fish will stay,
Begging themselves they may betray.

When thou wilt swim in that live bath,
Each fish, which every channel hath,
Will amorously to thee swim,
Gladder to catch thee, than thou him.

If thou, to be so seen, be'st loth,
By sun or moon, thou dark'nest both,
And if myself have leave to see,
I need not their light, having thee.

Let others freeze with angling reeds,
And cut their legs with shells and weeds,
Or treacherously poor fish beset,
With strangling snare, or windowy net.

Let coarse bold hands from slimy nest
The bedded fish in banks out-wrest ;
Or curious traitors, sleeve-silk flies,
Bewitch poor fishes' wand'ring eyes.

For thee, thou need'st no such deceit,
For thou thyself art thine own bait :
That fish, that is not catch'd thereby,
Alas ! is wiser far than I.

No Shakespeare?
Anybody who writes a poem is a poet.

of course, but if i'd put shakespeare up there, it would have been no contest... so for those who'd vote for shakespeare, think of the poll as your vote for #2 British poet of all time. hehe

yeah, Burns also wrote Auld Lang Syne... the first verse of which I understand. I don't have a clue what he's talking about in verses 2+... sounds like drivel.

LOL, well, it probably is. Still, he does have the imagery gene in his work.

Dylan Thomas. No contest.

Do Not Go Gentle

Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.


Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.


Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.


Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.


Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.


And you, my father, there on the sad height,
Curse, bless me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.


Dylan Thomas, 1951 or 1952

william butler yeats... him being from sligo is just a plus... also seamus heaney, he's fantastic. thank god i never had him for the leaving cert, otherwise i would have really grown to dislike him as i did kavanagh

william butler yeats... him being from sligo is just a plus... also seamus heaney, he's fantastic. thank god i never had him for the leaving cert, otherwise i would have really grown to dislike him as i did kavanagh

He was a bit of a tosser though, old Yeats. I remember hearing the story about how he never in his life visited a pub until a group of his friends dragged him out to one. He had a dry sherry, sipped it for a few minutes then said "i have seen a pub now, may i go?"

Ironically, the pub now has a sign up saying "WB Yeats drank here"

How can the poll have missed Robbie Burns? Shocking.


Nine Inch Will Please a Lady
(Robert Burns)

Come rede me dame, come tell me dame,
My dame come tell me truly,
What length o' graith when weel ca'd hame
Will sair a woman duly?"
The carlin clew her wanton tail,
Her wanton tail sae ready,
"l learn'd a sang in Annandale,
Nine inch will please a lady."

"But for a koontrie **** like mine,
In sooth we're not sae gentle;
We'll tak tway thumb-bread to the nine,
And that is a sonsy pintle.
Oh, Leeze me on, my Charlie lad,
I'll ne'er forget my Charlie,
Tway roaring handfuls and a daud
He nidged it in fu' rarely."

But wear fa' the laithron doup
And may it ne'er be thriving,
It's not the length that makes me loup
But it's the double drivin.
Come nidge me Tom, come nidge me Tom
Come nidge me, o'er the nyvel
Come lowse an lug your battering ram
And thrash him at my gyvel!

How can the poll have missed Robbie Burns? Shocking.

Burns was just FILTH :)

Burns was just FILTH :)

But very well done filth, which after all, makes the best art.

i might as well contibute something.

The Harvest Bow- Seamus Heaney


As you plaited the harvest bow
You implicated the mellowed silence in you
In wheat that does not rust
But brightens as it tightens twist by twist
Into a knowable corona,
A throwaway love-knot of straw.

Hands that aged round ashplants and cane sticks
And lapped the spurs on a lifetime of game cocks
Harked to their gift and worked with fine intent
Until your fingers moved somnambulant:
I tell and finger it like braille,
Gleaning the unsaid off the palpable,

And if I spy into its golden loops
I see us walk between the railway slopes
Into an evening of long grass and midges,
Blue smoke straight up, old beds and ploughs in hedges,
An auction notice on an outhouse wall--
You with a harvest bow in your lapel,

Me with the fishing rod, already homesick
For the big lift of these evenings, as your stick
Whacking the tips off weeds and bushes
Beats out of time, and beats, but flushes
Nothing: that original townland
Still tongue-tied in the straw tied by your hand.

The end of art is peace
Could be the motto of this frail device
That I have pinned up on our deal dresser--
Like a drawn snare
Slipped lately by the spirit of the corn
Yet burnished by its passage, and still warm.