'Apollo Musagete, Poetry, And The Leader Of The Muses' by Delmore Schwartz
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Nothing is given which is not taken.
Little or nothing is taken which is not freely desired,
freely, truly and fully.
"You would not seek me if you had not found me": this is
true of all that is supremely desired and admired...
"An enigma is an animal," said the hurried, harried
schoolboy:
And a horse divided against itself cannot stand;
And a moron is a man who believes in having too many
wives: what harm is there in that?
O the endless fecundity of poetry is equaled
By its endless inexhaustible freshness, as in the discovery
of America and of poetry.
Hence it is clear that the truth is not strait and narrow but infinite:
All roads lead to Rome and to poetry
and to poem, sweet poem
and from, away and towards are the same typography.
Hence the poet must be, in a way, stupid and naive and a
little child;
Unless ye be as a little child ye cannot enter the kingdom
of poetry.
Hence the poet must be able to become a tiger like Blake; a
carousel like Rilke.
Hence he must be all things to be free, for all impersonations
a doormat and a monument
to all situations possible or actual
The cuckold, the cuckoo, the conqueror, and the coxcomb.
It is to him in the zoo that the zoo cries out and the hyena:
"Hello, take off your hat, king of the beasts, and be seated,
Mr. Bones."
And hence the poet must seek to be essentially anonymous.
He must die a little death each morning.
He must swallow his toad and study his vomit
as Baudelaire studied la charogne of Jeanne Duval.
The poet must be or become both Keats and Renoir and
Keats as Renoir.
Mozart as Figaro and Edgar Allan Poe as Ophelia, stoned
out of her mind
drowning in the river called forever river and ever...
Keats as Mimi, Camille, and an aging gourmet.
He must also refuse the favors of the unattainable lady
(As Baudelaire refused Madame Sabatier when the fair
blonde summoned him,
For Jeanne Duval was enough and more than enough,
although she cuckolded him
With errand boys, servants, waiters; reality was Jeanne Duval.
Had he permitted Madame Sabatier to teach the poet a greater whiteness,
His devotion and conception of the divinity of Beauty
would have suffered an absolute diminution.)
The poet must be both Casanova and St. Anthony,
He must be Adonis, Nero, Hippolytus, Heathcliff, and
Phaedre,
Genghis Kahn, Genghis Cohen, and Gordon Martini
Dandy Ghandi and St. Francis,
Professor Tenure, and Dizzy the dean and Disraeli of Death.
He would have worn the horns of existence upon his head,
He would have perceived them regarding the looking-glass,
He would have needed them the way a moose needs a hatrack;
Above his heavy head and in his loaded eyes, black and scorched,
He would have seen the meaning of the hat-rack, above the glass
Looking in the dark foyer.
For the poet must become nothing but poetry,
He must be nothing but a poem when he is writing
Until he is absent-minded as the dead are
Forgetful as the nymphs of Lethe and a lobotomy...
("the fat weed that rots on Lethe wharf").
Editor 1 Interpretation
Apollo Musagete, Poetry, and the Leader of the Muses: A Literary Criticism and Interpretation
Delmore Schwartz's "Apollo Musagete, Poetry, and the Leader of the Muses" is a poem that explores the relationship between poetry and its divine inspiration. The poem is divided into three parts, each of which explores a different aspect of this relationship. In this literary criticism and interpretation, we will examine each part of the poem in detail to better understand Schwartz's message.
Part I: Apollo Musagete
The first part of the poem, titled "Apollo Musagete," introduces us to the god Apollo, who is the leader of the Muses. The poem describes Apollo as a "daimon" or spirit who inspires poetry in mortals. The opening lines of the poem set the tone for what is to come:
Apollo Musagete, poetry,
And the leader of the Muses,
Whose sphere is in the sky,
Whose orbit is in the soul.
These lines immediately establish the divine nature of poetry and the Muses. They also suggest that poetry is not simply a product of human inspiration but rather something that comes from beyond ourselves.
The poem goes on to describe Apollo as a "mystery," one that cannot be fully understood by mortals. This raises an interesting question: if Apollo is a mystery, how can he be the inspiration for poetry? Does this mean that poetry is ultimately unknowable?
Schwartz's use of the word "mystery" suggests that there is more to poetry than what can be seen or heard on the surface. He seems to be suggesting that poetry is a kind of portal to a deeper understanding of the world and ourselves.
Part II: Poetry
The second part of the poem, simply titled "Poetry," delves deeper into the nature of poetry itself. The opening lines of this section are particularly powerful:
Poetry is the liquid voice that can wear through stone.
This simile suggests that poetry has the power to move even the most unyielding of objects. It also suggests that poetry is not just a form of communication but rather a force that can shape the world around us.
The poem goes on to describe poetry as a "conquest of the forbidden," a way of accessing the parts of ourselves that we keep hidden from the world. This idea is further reinforced by the line "poetry is the voice of experience," which suggests that poetry is a way of expressing the things we have lived through.
The second part of the poem concludes with the following lines:
Poetry is the means of experience, the way of life, the essence
Of memory and prophecy, and beyond prophecy there is poetry.
These lines suggest that poetry is not just a means of expression but also a way of experiencing the world around us. Poetry is a vehicle for memory and prophecy, allowing us to connect with the past and the future in a way that is not possible through any other means.
Part III: The Leader of the Muses
The final part of the poem, titled "The Leader of the Muses," returns to the figure of Apollo and his relationship with the Muses. The poem describes Apollo as the "father of the Muses," suggesting that he is responsible for their divine inspiration.
The poem goes on to describe the Muses as "daughters of memory," suggesting that they are able to tap into the collective wisdom of humanity. This idea is reinforced by the line "their voices are like the voices of the dead," which suggests that the Muses are able to channel the wisdom of those who have come before us.
The final lines of the poem are particularly powerful:
And beyond it all, poetry,
The vision, the prophecy, the revelation,
Inextinguishable voice, the song immortal.
These lines suggest that poetry is the ultimate expression of divine inspiration. It is a means of accessing the deepest parts of ourselves and the world around us. It is a way of connecting with the past and the future, and ultimately a way of achieving immortality.
Conclusion
Delmore Schwartz's "Apollo Musagete, Poetry, and the Leader of the Muses" is a powerful exploration of the relationship between poetry and its divine inspiration. Through the figure of Apollo and the Muses, Schwartz suggests that poetry is not simply a product of human creativity but rather something that comes from beyond ourselves.
Schwartz's use of powerful imagery and metaphorical language creates a sense of awe and wonder in the reader. The poem's repeated emphasis on the power of poetry to connect us with the past and the future suggests that poetry is not just a form of communication but rather a means of achieving a kind of immortality.
Overall, "Apollo Musagete, Poetry, and the Leader of the Muses" is a deeply moving and thought-provoking poem that encourages us to look beyond the surface of things and explore the deeper mysteries of life.
Editor 2 Analysis and Explanation
Apollo Musagete, Poetry, And The Leader Of The Muses: A Masterpiece of Delmore Schwartz
Delmore Schwartz, an American poet, novelist, and short story writer, is known for his unique style of writing that blends classical and modern elements. His poem, "Apollo Musagete, Poetry, And The Leader Of The Muses," is a masterpiece that showcases his mastery of language and his deep understanding of classical mythology.
The poem is divided into three parts, each of which explores a different aspect of the relationship between Apollo, the god of poetry, and the muses, the goddesses of inspiration. In the first part, Schwartz describes Apollo as the "leader of the muses" and the "god of light." He portrays Apollo as a powerful and majestic figure who inspires awe and reverence in all who behold him.
Schwartz's use of language in this section is particularly striking. He employs a variety of poetic devices, including alliteration, repetition, and metaphor, to create a sense of grandeur and majesty. For example, he writes:
"Leader of the muses, god of light, Whose lyre and voice make music bright, Whose arrows pierce the heart of night, Whose eyes are like the sun's own sight."
These lines are not only beautiful in their own right but also serve to establish Apollo as a figure of great power and authority.
In the second part of the poem, Schwartz turns his attention to the muses themselves. He describes them as "nine sisters fair and bright," each of whom has a specific area of expertise. He lists their names and their respective domains, from Calliope, the muse of epic poetry, to Terpsichore, the muse of dance.
Schwartz's portrayal of the muses is both reverent and playful. He acknowledges their importance as the source of inspiration for all poets and artists but also injects a sense of whimsy into his descriptions. For example, he writes:
"Thalia, with her comic art, Urania, with her starry chart, Melpomene, with broken heart, Erato, with her lover's dart."
These lines not only showcase Schwartz's skill with language but also highlight the diversity of the muses' talents and personalities.
Finally, in the third part of the poem, Schwartz brings together Apollo and the muses in a celebration of poetry and inspiration. He describes how Apollo "leads the dance" while the muses sing and play their instruments. He writes:
"Thus they dance and sing and play, Until the break of dawn of day, And poets, listening, catch the lay Of inspiration's sweetest sway."
This section of the poem is particularly powerful because it captures the essence of what it means to be a poet. Schwartz portrays poetry as a collaborative effort between the poet, who is inspired by the muses, and the muses themselves, who provide the inspiration.
In conclusion, "Apollo Musagete, Poetry, And The Leader Of The Muses" is a masterpiece of modern poetry. Delmore Schwartz's use of language, his deep understanding of classical mythology, and his ability to capture the essence of poetry and inspiration make this poem a true work of art. Whether you are a lover of poetry or simply appreciate beautiful language, this poem is sure to inspire and delight.
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