“The form of the poem, in other words, is crucial to poetry’s power to do the thing which always is and always will be to poetry’s credit: the power to persuade that vulnerable part of our consciousness of its rightness in spite of the evidence of wrongness all around it, the power to remind us that we are hunters and gatherers of values, that our very solitudes and distresses are creditable, in so far as they, too, are an earnest of our veritable human being.”

-Seamus Heaney, in his 1995 Nobel acceptance speech

The life of this week’s final Scriblerian, Thomas Parnell, rounds out the picture of the entire Scriblerus club as a fraternity of wildly brilliant men all carrying some great pain or wound. Some of them clearly write out of that wound, while others seem to write in spite of it. Parnell straddles the line, and today’s poem is a fine example of his blending of bright energy with a sharp edge. Happy reading.

Thomas Parnell (11 September 1679 – 24 October 1718) was an Anglo-Irish poet and clergyman who was a friend of both Alexander Pope and Jonathan Swift.

He was born in Dublin, the eldest son of Thomas Parnell (died 1685) of Maryborough, Queen's County (now Portlaoise, County Laois), a prosperous landowner who had been a loyal supporter of Oliver Cromwell during the English Civil War and moved from Congleton, Cheshire to Ireland after the Restoration of Charles II. His mother was Anne Grice of Kilosty, County Tipperary: she also owned property in County Armagh, which she left to Thomas at her death in 1709. His parents married in Dublin in 1674. Thomas was educated at Trinity College, Dublin and collated as Archdeacon of Clogher in 1705. In the last years of the reign of Queen Anne of England he was a popular preacher, but her death put an end to his hope of career advancement. He married Anne (Nancy) Minchin, daughter of Thomas Minchin, who died in 1712, and had three children, two of whom died young. The third child, a girl, is said to have reached a great age. The marriage was a very happy one, and it has been said that Thomas never recovered from Nancy's early death.

He spent much of his time in London, where he participated with Pope, Swift and others in the Scriblerus Club, contributing to The Spectator and aiding Pope in his translation of The Iliad. He was also one of the so-called "Graveyard poets": his 'A Night-Piece on Death,' widely considered the first "Graveyard School" poem, was published posthumously in Poems on Several Occasions, collected and edited by Alexander Pope and is thought by some scholars to have been published in December 1721. It is said of his poetry, "it was in keeping with his character, easy and pleasing, enunciating the common places with felicity and grace."

-bio via Wikipedia

Today’s poem throws unambiguous shade on one of 18th-century England’s most divisive politicians, and marks out Swift as one of the gutsiest Scriblerians. Happy reading.

Alexander Pope (1688-1744) was notorious for embroiling himself in literary-political controversy–his sharp pen writing scathing checks his 4’6” frame couldn’t necessarily cash. Today’s poem is selected from his response to a friend who suggested he tone it down. Happy reading.

Great poets write as much by ear as by sight, and often turn to sonic phenomena for inspiration. The ringing of bells is one of the most time-honored of those sounds, and in today’s poem Wilbur deepens the sound-image through the added dimension of distance. Happy reading.

Today’s poem runs the gamut of Italian renaissance poetry, the Book of Common Prayer, and the depths and heights of the human soul. It opens with an allusion to the Italian poet Guido Cavalcanti, turns to the Purgatorio of Cavalcanti’s great disciple, Dante, and draws in the Anglican penitential office and lectionary readings for Ash Wednesday, all while following Eliot’s speaker through despair into hope. Happy reading.

Librettist, essayist, translator, and author of ten poetry collections, Scott Cairns is Curators’ Distinguished Professor Emeritus at University of Missouri. His poems and essays have appeared in Poetry, Image, Paris Review, The Atlantic Monthly, The New Republic, and both have been anthologized in multiple editions of Best American Spiritual Writing. He received a Guggenheim Fellowship in 2006, and the Denise Levertov Award in 2014.

-bio via Paraclete Press

Today’s poem finds the meeting place between the bump on the log and the one on the camel. Happy reading.

Today’s poem plays nicely against Hughes’ more famous meditation on “dreams” (the deferred kind, in “Harlem”). Rather than emphasizing the danger of a dream under pressure, here he stresses the importance of a dream to men and women under pressure. Happy reading.

Today’s poem features a simple but satisfying sleight of hand. Happy reading.

Richard Henry Horne (1802-1884), poet, was born on 31 December 1802 at Edmonton, near London, the eldest of three sons of James Horne (d.1810), quarter-master in the 61st Regiment; his grandfather was Richard Horne, secretary to Earl St Vincent. Richard was brought up at the home of his rich paternal grandmother and attended John Clarke's School where John Keats was also a pupil. In April 1819 Horne entered Sandhurst Military College but left in December 1820. In 1823 after reading Shelley's Queen Mab, he decided to become a poet.

In 1825 Horne sailed as midshipman in the Libertad to fight for Mexican independence. After two years in America he returned to London, where in 1833 he published his first book Exposition of the False Medium and Barriers Excluding Men of Genius from the Public. In the next decade he published three poetic dramas, contributed prolifically to literary magazines, edited the Monthly Repository in 1836-37 and served on the royal commission on child employment in factories in 1841. His most famous year was 1843 when he published his epic Orion at a farthing a copy to show his contempt for public taste. It ran to six editions in a year and made him a celebrity. During the Irish famine he was correspondent for the Daily News. In 1847 he married Catherine, daughter of David Foggo.

In 1852 Horne faced a crisis: his marriage was failing; he was impoverished; he was discontented in his work on Charles Dickens's Household Words; and he was torn between the practical and poetic sides of his nature. Tempted by dreams of fortune on the Australian goldfields and a chance to escape, Horne arrived at Melbourne in September. He soon became commander of the private gold escort and in 1853 assistant gold commissioner at Heathcote and Waranga. He was erratic in both posts and was dismissed in November 1854. By 1855 his English ties were severed, his wife having requested a formal separation. In Melbourne he became clerk to (Sir) Archibald Michie, and lived with a Scottish girl; their son, born in 1857, died after seven months. In September 1856 as a radical Horne contested Rodney in the Legislative Assembly but lost. As a commissioner of sewerage and water supply in 1857 when Melbourne's new reservoir was under public attack, he did little to appease the critics. By 1860 he was again unemployed and living at St Kilda with a female companion. He was well known at Captain Kenney's swimming baths, lectured at Mechanics' Institutes on 'The Causes of Success in Life' and failed to win the Belfast (Port Fairy) seat. He helped to found the Tahbilk vineyard on the Goulburn River. In 1862-63 the Royal Literary Fund assisted him.

In June 1863 Horne was made warden of the Victorian Blue Mountain goldfield near Trentham: 'my Siberia'. Again he began to write seriously and found tranquillity. On visits to Melbourne he held court at Henry Dwight's bookshop, and became friendly with George Gordon McCrae and Marcus Clarke. In 1864 he published a lyrical drama, Prometheus the Fire-Bringer, and in 1866 for the Melbourne Intercolonial Exhibition a masque, The South Sea Sisters; it contained a rhythmic representation of an Aboriginal corroboree which brought acclaim. In 1867 he celebrated the arrival of the Duke of Edinburgh with a cantata, Galatea Secunda, signing himself Richard Hengist Horne, the name by which he was henceforth known. In Australia he produced no significant poetry but some good prose: Australian Facts and Prospects(London, 1859), and an essay, 'An Election Contest in Australia' in Cornhill, 5 (1862). Disillusioned, he sailed in June 1869 for England where he became a literary doyen, producing many new works all artistically worthless. His poverty was relieved in 1874 by a government pension, and he died at Margate on 13 March 1884.

-bio via Australian Dictionary of Biography