What He Thought

In the relative advent of this blog, I think it might be beneficial to include a poem about poetry--that is, a poem that I believe explains in one very eloquent way what poetry should be. This is a modern poem that I found in the book Poetry 180: A Turning Back to Poetry, compiled by former U.S. poet laureate Billy Collins. Judging from what little I've read of Collins and the poems he selected for this anthology, I highly recommend his work, as well as this book. It's an especially appropriate pick for someone who's having trouble understanding or appreciating poetry; easy reading, but very poignant.

What He Thought
by Heather McHugh

We were supposed to do a job in Italy
and, full of our feeling for
ourselves (our sense of being
Poets from America) we went
from Rome to Fano, met
the mayor, mulled
a couple matters over (what's
cheap date, they asked us; what's a
flat drink). Among Italian literati

we could recognize our counterparts:
the academic, the apologist,
the arrogant, the amorous,
the brazen and the glib--and there was one

administrator (the conservative), in suit
of regulation gray, who like a good tour guide
with measured pace and uninflected tone narrated
sights and histories the hired van hauled us past.
Of all, he was most politic and least poetic,
so it seemed. Our last few days in Rome
(when all but three of the New World Bards had flown)
I found a book of poems this
unprepossessing one had written: it was there
in the pensione room (a room he'd recommended)
where it must have been abandoned by
the German visitor (was there a bus of them?)
to whom he had inscribed and dated it a month before.
I couldn't read Italian, either, so I put the book
back into the wardrobe's dark. We last Americans

were due to leave tomorrow. For our parting evening then
our host chose something in a family restaurant, and there
we sat and chatted, sat and chewed,
till, sensible it was our last
big chance to be poetic, make
our mark one of us asked
"What's poetry?
Is it the fruits and vegetables and
marketplace of Campo dei Fiori, or
the statue there?" Because I was

the glib one, I identified the answer
instantly, I didn't have to think--"The truth
is both, it's both," I blurted out. But that
was easy. That was easiest to say. What followed
taught me something about difficulty,
four our underestimated host spoke out,
all of a sudden, with a rising passion, and he said:

The statue represents Giordano Bruno,
brought to be burned in the public square
because of his offense against
authority, which is to say
the Church. His crime was his belief
the universe does not revolve around
the human being: God is no
fixed point or central government, but rather is
poured in waves through all things. All things
move. "If God is not the soul itself, He is
the soul of the soul of the world." Such was
his heresy. The day they brought him
forth to die, they feared he might
incite the crowd (the man was famous
for his eloquence). And so his captors
placed upon his face
an iron mask, in which

he could not speak. That's
how they burned him. That is how
he died: without a word, in front
of everyone.
And poetry--
(we'd all
put down our forks by now, to listen to
the man in gray; he went on
softly)--
poetry is what
he thought, but did not say.