The Daily Poem

"A master of forms, Merrill’s later poetry rarely feels formal. In the Atlantic Monthly, poet X.J. Kennedy observed that “Merrill never sprawls, never flails about, never strikes postures. Intuitively he knows that, as Yeats once pointed out, in poetry, ‘all that is personal soon rots; it must be packed in ice or salt.’”-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 is a master-class in snappy putdowns and the value of a fiercely-loyal and equally witty friend.Joseph Hilaire Pierre René Belloc (1870 – 1953) was a Franco-English writer and historian of the early 20th century. Belloc was also an orator, poet, sailor, satirist, writer of letters, soldier, and political activist. His Catholic faith had a strong effect on his works.Belloc became a naturalised British subject in 1902 while retaining his French citizenship. While attending Oxford University, he served as President of the Oxford Union. From 1906 to 1910, he served as one of the few openly Catholic members of the British Parliament.Belloc was a noted disputant, with a number of long-running feuds. He was also a close friend and collaborator of G. K. Chesterton. George Bernard Shaw, a friend and frequent debate opponent of both Belloc and Chesterton, dubbed the pair the "Chesterbelloc".Belloc's writings encompassed religious poetry and comic verse for children. His widely sold Cautionary Tales for Children included "Jim, who ran away from his nurse, and was eaten by a lion" and "Matilda, who told lies and was burned to death". He wrote historical biographies and numerous travel works, including The Path to Rome (1902). 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 a grand smorgasbord of poetical allusions from the unofficial patron of The Daily Poem. Happy reading! 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

Naomi Shihab Nye was born on March 12, 1952, in St. Louis to a Palestinian father and an American mother. During her high school years, she lived in Ramallah in Palestine, the Old City in Jerusalem, and San Antonio, Texas, where she later received her BA in English and world religions from Trinity University.Nye is the author of numerous books of poems, most recently Everything Comes Next: Collected and New Poems. Her other books of poetry include Cast Away: Poems for Our Time (Greenwillow Books, 2020); The Tiny Journalist (BOA Editions, 2019); Voices in the Air: Poems for Listeners (Greenwillow Books, 2018); Transfer (BOA Editions, 2011); You and Yours (BOA Editions, 2005), which received the Isabella Gardner Poetry Award; 19 Varieties of Gazelle: Poems of the Middle East (Greenwillow Books, 2002), and the forthcoming Grace Notes: Poems About Families. She is also the author of several books of poetry and fiction for children, including Habibi (Simon Pulse, 1997), for which she received the Jane Addams Children's Book Award in 1998.Nye gives voice to her experience as an Arab American through poems about heritage and peace that overflow with a humanitarian spirit. About her work, the poet William Stafford has said, “her poems combine transcendent liveliness and sparkle along with warmth and human insight. She is a champion of the literature of encouragement and heart. Reading her work enhances life.”-bio via Academy of American Poets 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 an oft-maligned poet) makes frequent appearances in poetry anthologies for children, but hides a satisfying subtlety.Colley Cibber (6 November 1671 – 11 December 1757) was an English actor-manager, playwright and Poet Laureate. His colourful memoir An Apology for the Life of Colley Cibber (1740) describes his life in a personal, anecdotal and even rambling style. He wrote 25 plays for his own company at Drury Lane, half of which were adapted from various sources, which led Robert Lowe and Alexander Pope, among others, to criticise his "miserable mutilation" of "crucified Molière [and] hapless Shakespeare".He regarded himself as first and foremost an actor and had great popular success in comical fop parts, while as a tragic actor he was persistent but much ridiculed. Cibber's brash, extroverted personality did not sit well with his contemporaries, and he was frequently accused of tasteless theatrical productions, shady business methods, and a social and political opportunism that was thought to have gained him the laureateship over far better poets. He rose to ignominious fame when he became the chief target, the head Dunce, of Alexander Pope's satirical poem The Dunciad.Cibber's poetical work was derided in his time and has been remembered only for being poor. His importance in British theatre history rests on his being one of the first in a long line of actor-managers, on the interest of two of his comedies as documents of evolving early 18th-century taste and ideology, and on the value of his autobiography as a historical source. 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

Bertolt Brecht (February 10, 1898 – August 14, 1956) was an influential playwright and poet. His poetry is collected in Poems 1913-1956 (1997) and Poetry and Prose: Bertolt Brecht (2003). He wrote a wide variety of poetry, including occasional poems, poems he set to music and performed, songs and poems for his plays, personal poems recording anecdotes and thoughts, and political poems. Poet Michael Hofmann commented, “In the course of a mobile, active and engaged life, the poems were the intelligent, compressed, adaptable and self-contained form for both his private and his public address.”-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 is a walking song composed by Bilbo Baggins, reworked and repurposed at several key moments in The Hobbit and The Lord of the Rings. Happy reading! 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 a piece of uncollected verse from one of the world’s most beloved children’s writers: Dr. Seuss.Theodor Seuss Geisel (March 2, 1904 – September 24, 1991) was an American children's author and cartoonist. He is known for his work writing and illustrating more than 60 books under the pen name Dr. Seuss. His work includes many of the most popular children's books of all time, selling over 600 million copies and being translated into more than 20 languages by the time of his death.-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

Today’s poem comes from one of America’s most beloved and decorated poets, Richard Wilbur. Don’t be put off by the title; no matter the subject, Wilbur’s poetry is always so marvelously companionable–desert island reading if ever there was. 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

For the day that only comes ‘round once every four years, we have a haunting poem about missed connections–and from a poet with a “Leap Day” birthday, no less.Howard Nemerov was born on February 29, 1920, in New York, New York. Throughout World War II, he served as a pilot in the Royal Canadian unit of the U. S. Army Air Force. He married in 1944, and after the war, having earned the rank of first lieutenant, returned to New York with his wife to complete his first book.Nemerov was first hired to teach literature to World War II veterans at Hamilton College in New York. His teaching career flourished, and he went on to teach at Bennington College, Brandeis University, and Washington University in St. Louis, where he was Distinguished Poet in Residence from 1969 until his death.In addition to a dozen collections of poetry, he was also an accomplished prose writer with several collections of non-fiction essays to his name.-bio via Academy of American Poets 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

Elizabeth Drew Barstow Stoddard (1823-1902) was a poet, fiction writer, and essayist born and raised in Mattapoisset, Massachusetts. The daughter of a shipbuilder, Stoddard was educated at Wheaton Female Seminary.She married poet Richard Stoddard in 1851 and together they had three children, two of whom died as infants. The Stoddards’ New York City home was a gathering place for local poets, and Elizabeth began to submit her own poetry, fiction, and social commentary to journals. From 1854 to 1858, Stoddard contributed a bimonthly column to the San Francisco newspaper Daily Alta California.Stoddard wrote three novels, including The Morgesons (1862), and many short stories, essays, children’s tales, and poems. Uncommon for her time, her work questions the conventions of gender roles and is rooted in an unsentimental, irreverent realism. Her poetry, gathered in Poems (1895), often examines a fragile domestic realm.-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

Happy Birthday to America’s great man of letters, Henry Wadsworth Longfellow!Get to know Longfellow better through his own verse, or in the pages of Nicholas Basbanes’ excellent biography, Cross of Snow. 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

Edwin Arlington Robinson was born in Head Tide, Maine on December 22, 1869 (the same year as W. B. Yeats). His family moved to Gardiner, Maine, in 1870, which renamed “Tilbury Town,” became the backdrop for many of Robinson’s poems. Robinson described his childhood as stark and unhappy; he once wrote in a letter to Amy Lowell that he remembered wondering why he had been born at the age of six. After high school, Robinson spent two years studying at Harvard University as a special student and his first poems were published in the Harvard Advocate.Robinson privately printed and released his first volume of poetry, The Torrent and the Night Before, in 1896 at his own expense; this collection was extensively revised and published in 1897 as The Children of the Night. Unable to make a living by writing, he got a job as an inspector for the New York City subway system. In 1902, he published Captain Craig and Other Poems. This work received little attention until President Theodore Roosevelt wrote a magazine article praising it and Robinson. Roosevelt also offered Robinson a sinecure in a U.S. Customs House, a job he held from 1905 to 1910. Robinson dedicated his next work, The Town Down the River (1910), to Roosevelt.Robinson’s first major success was The Man Against the Sky (1916). He also composed a trilogy based on Arthurian legends: Merlin (1917), Lancelot (1920), and Tristram (1927), which won a Pulitzer Prize in 1928. Robinson was also awarded a Pulitzer Prize for his Collected Poems (1921) in 1922 and The Man Who Died Twice (1924) in 1925. For the last twenty-five years of his life, Robinson spent his summers at the MacDowell Colony of artists and musicians in Peterborough, New Hampshire. Robinson never married and led a notoriously solitary lifestyle. He died in New York City on April 6, 1935.-bio via Academy of American Poets 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 classic poem from W. B. Yeats doubles as one of the greatest literary justifications for committing poems to memory. Happy reading! 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 poems pay tribute to the soulful and spirited Edna St. Vincent Millay, first woman to win the Pulitzer Prize for Poetry. They are “First Fig,” “Second Fig,” and “Thursday,” all from her collection, A Few Figs From Thistles.Poet and playwright Edna St. Vincent Millay was born in Rockland, Maine, on February 22, 1892. In 1912, Millay entered her poem “Renascence” to The Lyric Year’s poetry contest, where she won fourth place and publication in the anthology. This brought her immediate acclaim and a scholarship to Vassar College, where she continued to write poetry and became involved in the theater. In 1917, the year of her graduation, Millay published her first book, Renascence and Other Poems (Harper, 1917). At the request of Vassar’s drama department, she also wrote her first verse play, The Lamp and the Bell (1921), a work about love between women.After graduating from Vassar, Millay moved to New York City’s Greenwich Village, where she lived with her sister, Norma, in a nine-foot-wide attic. Millay published poems in Vanity Fair, the Forum, and others while writing short stories and satire under the pen name Nancy Boyd. She and Norma acted with the Provincetown Players in the group’s early days, befriending writers such as poet Witter Bynner, critic Edmund Wilson, playwright and actress Susan Glaspell, and journalist Floyd Dell. Millay published A Few Figs from Thistles (Harper & Brothers, 1920), a volume of poetry which drew much attention for its controversial descriptions of female sexuality and feminism. In 1923, Millay was awarded the Pulitzer Prize for The Ballad of the Harp-Weaver (Flying Cloud Press, 1922). In addition to publishing three plays in verse, Millay also wrote the libretto of one of the few American grand operas, The King’s Henchman (Harper & Brothers, 1927).Millay married Eugen Boissevain in 1923, and the two were together for twenty-six years. Boissevain gave up his own pursuits to manage Millay’s literary career, setting up the readings and public appearances for which Millay grew famous. Edna St. Vincent Millay died at the age of fifty-eight on October 18, 1950, in Austerlitz, New York.-bio via Academy of American Poets 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 one great poet pays passionate tribute to another. 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

The full title of today’s poem from Maurice Manning says it all: “A Brief Refutation of the Rumor That I Allowed Willie and Tad to Relieve Themselves in my Up-Turned Hat on a Sunday Morning at the Office While Their Mother was Attending Religious Services” Maurice Manning (born 1966) is an American poet. His first collection of poems, Lawrence Booth's Book of Visions, was awarded the Yale Younger Poets Award, chosen by W.S. Merwin. Since then he has published four collections of poetry (with Houghton Mifflin Harcourt and Copper Canyon Press). He teaches English and Creative Writing at Transylvania University in Lexington, Kentucky, where he oversees the Judy Gaines Young Book Award, and is a member of the poetry faculty of the Warren Wilson College MFA Program for Writers. Today’s poem comes from his 2020 collection, Railsplitter.-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

James Matthew Wilson has published ten books, among them four collections of poems, including The Strangeness of the Good. His poems, essays, and reviews appear regularly in a wide range of magazines and journals. The winner of the 2017 Hiett Prize from the Dallas Institute of Humanities and Culture, Wilson also serves as Poet-in-Residence of the Benedict XVI Institute for Sacred Music and Divine Worship, poetry editor of Modern Age magazine, and series editor of Colosseum Books, a new imprint that publishes the best contemporary poetry and literary criticism of serious craft and spiritual depth.-bio via University of St. Thomas, Houston 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 Rilke and has a fairly straight-forward title–or does it? 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 Ben Jonson (also know by its first line, “Drink to me only with thine eyes”) has been arranged and set to music numerous times, and become so familiar that it is often recognizable even to those who no longer associate it with Jonson himself. Jonson’s circle of admirers and friends, who called themselves the “Tribe of Ben,” met regularly at the Mermaid Tavern and later at the Devil’s Head. Among his followers were nobles such as the Duke and Duchess of Newcastle, as well as writers, including Robert Herrick, Richard Lovelace, Sir John Suckling, James Howell, and Thomas Carew. Most of his well-known poems include tributes to friends, notably Shakespeare, John Donne, and Francis Bacon.When Jonson died in 1637, a tremendous crowd of mourners attended his burial at Westminster Abbey. He is regarded as one of the major dramatists and poets of the seventeenth century.-bio via Academy of American Poets 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 Pablo Neruda is characteristic of the passionate Chilean’s emphatic love poetry, but more chaste and decorous than some of his verses–perfect for a day that somehow manages to celebrate romance and the beheading of an Italian saint simultaneously. 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 a young John Donne. Long before he became a serious clergyman writing Holy Sonnets for God, he was a young rake writing saucy sophistries like this one for the ladies. 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 poems kick off a week of love poetry with two by the Master. 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

William Cullen Bryant (1794-1878) was a Fireside Poet, journalist, and nature writer with ties to the Hudson River School of art. He wrote poems, essays, and articles that championed the rights of slaves, workers, and immigrants, and he was frequently published by the North American Review. He is the author of several books, including The White-Footed Deer and Other Poems (I. S. Platt, 1844), and The Fountain and Other Poems (Wiley and Putnam, 1842). -bio via Academy of American Poets 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 a rare departure for Elizabeth Bishop who usually avoided a confessional style of poetry–but everybody gets a little introspective on their birthday. 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

Tracy K. Smith was born in Massachusetts and raised in northern California. She earned a BA from Harvard University and an MFA in creative writing from Columbia University. From 1997 to 1999 she held a Stegner fellowship at Stanford University. Smith is the author of four books of poetry: The Body's Question (2003), which won the Cave Canem prize for the best first book by an African-American poet; Duende (2007), winner of the James Laughlin Award and the Essense Literary Award; Life on Mars (2011), winner of the Pulitzer Prize for Poetry; and Wade in the Water (2018). In 2014 she was awarded the Academy of American Poets fellowship. She has also written a memoir, Ordinary Light (2015), which was a finalist for the National Book Award in nonfiction.In June 2017, Smith was named U.S. poet laureate. She teaches at Harvard University, where she is a professor of English and of African and African American Studies and the Susan S. and Kenneth L. Wallach Professor at the Harvard Radcliffe Institute. She also hosted American Public Media's daily radio program and podcast The Slowdown, which is sponsored by the Poetry Foundation.-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 is the one you had to read in high school without really understanding it. (Or was that just me?)Among the major Victorian writers, Matthew Arnold (1822-1888) is unique in that his reputation rests equally upon his poetry and his poetry criticism. Only a quarter of his productive life was given to writing poetry, but many of the same values, attitudes, and feelings that are expressed in his poems achieve a fuller or more balanced formulation in his prose. This unity was obscured for most earlier readers by the usual evaluations of his poetry as gnomic or thought-laden, or as melancholy or elegiac, and of his prose as urbane, didactic, and often satirically witty in its self-imposed task of enlightening the social consciousness of England.Assessing his achievement as a whole, G.K. Chesterton said that under his surface raillery Arnold was, “even in the age of Carlyle and Ruskin, perhaps the most serious man alive” [though, from Chesterton, this is not entirely a compliment.] H.J. Muller declared that “if in an age of violence the attitudes he engenders cannot alone save civilization, it is worth saving chiefly because of such attitudes.” It is even more striking, and would have pleased Arnold greatly, to find an intelligent and critical journalist telling newspaper readers in 1980 that if selecting three books for castaways, he would make his first choice The Poetical Works of Matthew Arnold (1950), because “Arnold’s longer poems may be an acquired taste, but once the nut has been cracked their power is extraordinary.” Arnold put his own poems in perspective in a letter to his mother on June 5, 1869: “It might be fairly urged that I have less poetical sentiment than Tennyson, and less intellectual vigour and abundance than Browning; yet, because I have perhaps more of a fusion of the two than either of them, and have more regularly applied that fusion to the main line of modern development, I am likely enough to have my turn, as they have had theirs.”-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 is one of the most recognizable and influential American poems of the twentieth century.Langston Hughes was a central figure in the Harlem Renaissance, the flowering of black intellectual, literary, and artistic life that took place in the 1920s in a number of American cities, particularly Harlem. A major poet, Hughes also wrote novels, short stories, essays, and plays. He sought to honestly portray the joys and hardships of working-class black lives, avoiding both sentimental idealization and negative stereotypes.Hughes’s position in the American literary scene seems to be secure. David Littlejohn wrote that Hughes is "the one sure Negro classic, more certain of permanence than even Baldwin or Ellison or Wright. … His voice is as sure, his manner as original, his position as secure as, say Edwin Arlington Robinson’s or Robinson Jeffers’. … By molding his verse always on the sounds of Negro talk, the rhythms of Negro music, by retaining his own keen honesty and directness, his poetic sense and ironic intelligence, he maintained through four decades a readable newness distinctly his own."Hughes’s poems have been translated into German, French, Spanish, Russian, Yiddish, and Czech; many of them have been set to music.-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 Robert Herrick is not only an ode to the holiday of Candlemas, but a meditation on the everlasting revolution of the seasons.For more on the history of Groundhog Day and Candlemas, check out this conversation between Richard Rohlin and Jonathan Pageau. 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

If you had to live the same day over and over again, you may as well use the time to memorize some poetry. That’s exactly what Phil Connors does in Groundhog Day. Today’s poem is featured in the film and marks a significant turning point for the once-misanthropic weatherman.Samuel Taylor Coleridge is the premier poet-critic of modern English tradition, distinguished for the scope and influence of his thinking about literature as much as for his innovative verse. Active in the wake of the French Revolution as a dissenting pamphleteer and lay preacher, he inspired a brilliant generation of writers and attracted the patronage of progressive men of the rising middle class. As William Wordsworth’s collaborator and constant companion in the formative period of their careers as poets, Coleridge participated in the sea change in English verse associated with Lyrical Ballads (1798). His poems of this period, speculative, meditative, and strangely oracular, put off early readers but survived the doubts of Wordsworth and Robert Southey to become recognized classics of the romantic idiom.-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

Although the early part of Robert Browning’s creative life was spent in comparative obscurity, he has come to be regarded as one of the most important English poets of the Victorian period. His dramatic monologues and the psycho-historical epic The Ring and the Book (1868-1869), a novel in verse, have established him as a major figure in the history of English poetry. His claim to attention as a children’s writer is more modest, resting as it does almost entirely on one poem, “The Pied Piper of Hamelin,” included almost as an afterthought in Bells and Pomegranites. No. III.—Dramatic Lyrics (1842) and evidently never highly regarded by its creator. Nevertheless, “The Pied Piper” moved quickly into the canon of children’s literature, where it has remained ever since, receiving the dubious honor (shared by the fairy tales of Hans Christian Andersen and J.M. Barrie’s Peter Pan) of appearing almost as frequently in “adapted” versions as in the author’s original. His approach to dramatic monologue influenced countless poets for almost a century. Browning was born on May 7, 1812 in Camberwell, a middle-class suburb of London. He was the only son of Robert Browning, a clerk in the Bank of England, and a devoutly religious German-Scotch mother, Sarah Anna Wiedemann Browning. He had a sister, Sarianna, who like her parents was devoted to Browning. While Mrs. Browning’s piety and love of music are frequently cited as important influences on the poet’s development, his father’s scholarly interests and unusual educational practices may have been equally significant. The son of a wealthy banker, Robert Browning the elder had been sent in his youth to make his fortune in the West Indies, but he found the slave economy there so distasteful that he returned, hoping for a career in art and scholarship. A quarrel with his father and the financial necessity it entailed led the elder Browning to relinquish his dreams so as to support himself and his family through his bank clerkship.Browning’s father amassed a personal library of some 6,000 volumes, many of them collections of arcane lore and historical anecdotes that the poet plundered for poetic material, including the source of “The Pied Piper.” The younger Browning recalled his father’s unorthodox methods of education in his late poem “Development,” published in Asolando: Fancies and Facts (1889). Browning remembers at the age of five asking what his father was reading. To explain the siege of Troy, the elder Browning created a game for the child in which the family pets were assigned roles and furniture was recruited to serve for the besieged city. Later, when the child had incorporated the game into his play with his friends, his father introduced him to Alexander Pope’s translation of the Iliad. Browning’s appetite for the story having been whetted, he was induced to learn Greek so as to read the original. Much of Browning’s education was conducted at home by his father, which accounts for the wide range of unusual information the mature poet brought to his work. His family background was also important for financial reasons; the father whose own artistic and scholarly dreams had been destroyed by financial necessity was more than willing to support his beloved son’s efforts. Browning decided as a child that he wanted to be a poet, and he never seriously attempted any other profession. Both his day-to-day needs and the financial cost of publishing his early poetic efforts were willingly supplied by his parents.At the time of his death in 1889, he was one of the most popular poets in England.-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 Emily Dickinson is a masterclass in poetic economy. 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

Anne Bradstreet was the first woman to be recognized as an accomplished New World Poet. Her volume of poetry The Tenth Muse Lately Sprung Up in America ... received considerable favorable attention when it was first published in London in 1650. Eight years after it appeared it was listed by William London in his Catalogue of the Most Vendible Books in England, and George III is reported to have had the volume in his library. Bradstreet's work has endured, and she is still considered to be one of the most important early American poets.Although Anne Dudley Bradstreet did not attend school, she received an excellent education from her father, who was widely read— Cotton Mather described Thomas Dudley as a "devourer of books"—and from her extensive reading in the well-stocked library of the estate of the Earl of Lincoln, where she lived while her father was steward from 1619 to 1630. There the young Anne Dudley read Virgil, Plutarch, Livy, Pliny, Suetonius, Homer, Hesiod, Ovid, Seneca, and Thucydides as well as Spenser, Sidney, Milton, Raleigh, Hobbes, Joshua Sylvester's 1605 translation of Guillaume du Bartas's Divine Weeks and Workes, and the Geneva version of the Bible. In general, she benefited from the Elizabethan tradition that valued female education. In about 1628—the date is not certain—Anne Dudley married Simon Bradstreet, who assisted her father with the management of the Earl's estate in Sempringham. She remained married to him until her death on September 16, 1672. Bradstreet immigrated to the new world with her husband and parents in 1630; in 1633 the first of her children, Samuel, was born, and her seven other children were born between 1635 and 1652: Dorothy (1635), Sarah (1638), Simon (1640), Hannah (1642), Mercy (1645), Dudley (1648), and John (1652).Although Bradstreet was not happy to exchange the comforts of the aristocratic life of the Earl's manor house for the privations of the New England wilderness, she dutifully joined her father and husband and their families on the Puritan errand into the wilderness. After a difficult three-month crossing, their ship, the Arbella, docked at Salem, Massachusetts, on July 22, 1630. Distressed by the sickness, scarcity of food, and primitive living conditions of the New England outpost, Bradstreet admitted that her "heart rose" in protest against the "new world and new manners." Although she ostensibly reconciled herself to the Puritan mission—she wrote that she "submitted to it and joined the Church at Boston"—Bradstreet remained ambivalent about the issues of salvation and redemption for most of her life.-bio via Poetry FoundationFor further reading: a picture book about Bradstreet by one of her descendants 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 by John Greenleaf Whittier, though potentially universal in its application, is ostensibly about Daniel Webster, who alienated abolitionists with his support of the Fugitive Slave Bill in 1850.Whittier (December 17, 1807 – September 7, 1892) was an American Quaker poet and advocate of the abolition of slavery in the United States. Frequently listed as one of the fireside poets, he was influenced by the Scottish poet Robert Burns. Whittier is remembered particularly for his anti-slavery writings, as well as his 1866 book Snow-Bound.-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

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

Edgar Allan Poe (January 19, 1809 - October 7, 1849) was an American poet, short fiction writer, critic, and accomplished editor known for his gloomy and sometimes grisly subjects. He pioneered the detective story and is remembered as a master of Gothic and Romantic literature. His works have inspired films, themed restaurants, football teams, and at least one bizarre ritual around his grave. 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 one of the most-anthologized works of light verse in the English language–and just plain fun.Frank Gelett Burgess was an American artist, art critic, poet, author and humorist. An important figure in the San Francisco Bay Area literary renaissance of the 1890s, particularly through his iconoclastic little magazine, The Lark, and association with The Crowd literary group. He is best known as a writer of nonsense verse and for introducing French modern art to the United States in an essay titled "The Wild Men of Paris." Burgess coined the term "blurb."-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

A singer-songwriter, cartoonist, screenwriter, award-winning children’s writer, and actor, Shel Silverstein grew up in Chicago. He started out as a cartoonist before turning to children’s books. Silverstein is the author and illustrator of numerous books, including The Giving Tree (1964), Where the Sidewalk Ends (1974), A Light in the Attic (1981), and Falling Up (1996). His books have been commended for their appeal to both adults and children.Silverstein’s poems are often darkly humorous, irreverent, and populated with invented characters, such as the “Bloath” in Where the Sidewalk Ends, who dwells “[i]n the undergrowth” and “feeds upon poets and tea.” Silverstein’s poems and stories are accompanied by his simple yet energetic pen-and-ink illustrations. The Giving Tree, a fable about a lifelong relationship between a boy and a tree, has become a classic in the canon of children’s literature and has sold over five million copies.-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

Kenyon published four volumes of poetry during her life: From Room to Room (1978), The Boat of Quiet Hours (1986), Let Evening Come (1990), and Constance (1993), and, as translator, Twenty Poems of Anna Akmatova (1985). Despite her relatively small output, her poetry was highly lauded by critics throughout her lifetime. As fellow poet Carol Muske remarked in the New York Times when describing Kenyon’s The Boat of Quiet Hours, “These poems surprise beauty at every turn and capture truth at its familiar New England slant. Here, in Keats’s terms, is a capable poet.” Indeed, Kenyon’s work has often been compared with that of English Romantic poet John Keats; in an essay on Kenyon for Contemporary Women Poets, Gary Roberts dubbed her a “Keatsian poet” and noted that, “like Keats, she attempts to redeem morbidity with a peculiar kind of gusto, one which seeks a quiet annihilation of self-identity through identification with benign things.”The cycles of nature held special significance for Kenyon, who returned to them again and again, both in her variations on Keats’s ode “To Autumn,” and in other pastoral verse. In Let Evening Come [from which today’s poem comes], her third published collection—and one that found the poet taking what Poetry essayist Paul Breslin called “a darker turn”—Kenyon explored nature’s cycles in other ways: the fall of light from day to dusk to night, and the cycles of relationships with family and friends throughout a long span of years brought to a close by death. Let Evening Come “shows [Kenyon] at the height of her powers,” according to Muske in a review of the 1990 volume for the New York Times Book Review, with the poet’s “descriptive skills… as notable as her dramatic ones. Her rendering of natural settings, in lines of well-judged rhythm and simple syntax, contribute to the [volume’s] memorableness.”-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 by Lawrence Ferlinghetti is another fitting meditation at the beginning of a new year. Happy reading (and listening)! 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

"There is no optimistic blindness in Williams," wrote Randall Jarrell, "though there is a fresh gaiety, a stubborn or invincible joyousness."-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