Four Roman Marble figures of women, circa 2nd Century A.D. (Sotheby's)‘Untitled’ and Other Poetry by Phillip Whidden The Society August 3, 2017 Beauty, Culture, Poetry 5 Comments Untitled All older statues want to come alive, Those Greek and Roman ones, and Christian, too. Their skeletons and veins and muscles strive To break through marble skin. They want their blue Eyes once again to see the world of living flesh. They want to sweat in love and hate, and force Me to address their honor and refresh Commitment to their dogmas and their coarse And ancient ways of thinking. They want me To give them even more, to carry them Around inside me. They want me to free Them to possess me and to marry them, __Submit myself as good wives should. They frown ____And say, “Don’t put our marble burden down.” A Long Dead Message I can’t afford to send you flowers. Besides, They’re only flowers. I want to send instead Those things that blossoms stand for, those that brides Desire. A garland for your curly head Is what you need, one made of brightness, joy, And subtle sacred things, like vestments white With purple worn by priests of love in Troy When trying to assuage Queen Helen’s bright Sin. Lingering stains of innocence in me Are what I want to send to you. Things soft, Hard, strong, and delicate, and words like “thee,” ”Belovèd,” “loving token,” held aloft __Are what I need to place upon your hair ____Or heart. I’m striving for a petaled snare. Phillip Whidden is a poet published in America, England, Scotland (and elsewhere) in book form, online, and in journals. He has also had an article on Wilfred Owen’s “Dulce et Decorum est” published in The New Edinburgh Review. www.phillipwhidden.com NOTE: The Society considers this page, where your poetry resides, to be your residence as well, where you may invite family, friends, and others to visit. Feel free to treat this page as your home and remove anyone here who disrespects you. Simply send an email to email@example.com. Put “Remove Comment” in the subject line and list which comments you would like removed. The Society does not endorse any views expressed in individual poems or comments and reserves the right to remove any comments to maintain the decorum of this website and the integrity of the Society. Please see our Comments Policy here. Share this:Click to share on Twitter (Opens in new window)Click to share on Facebook (Opens in new window)Click to print (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to email this to a friend (Opens in new window)Click to share on Pinterest (Opens in new window) 5 Responses Joe Tessitore August 3, 2017 Older Statues and the Thought Police I wonder if there’s a middle ground? Can it be there but not yet found? Perhaps in fact it isn’t ground But the freedom that so few have found By letting go of all that so constricts our minds That atrophies as well as binds And letting God? Reply Phillip Whidden August 8, 2017 How clever of you to reply in the same vein (sort of) and in verse. Yes, most people, perhaps all or nearly all, struggle to move forward–away from the assumptions that our culture teaches them, rather deeply, from early on in their mental cognizance. I like the oddity of the expression at the very end, “And letting God?” The cleverness of that is great. Thanks for your intelligent response, Joe Tessitore. Reply Phillip Whidden August 8, 2017 I tried to send you a reply. It wouldn’t go and then disappeared. Reply B. S. Eliud Acrewe August 3, 2017 With millions of sonnets having been written in Italian, French, Spanish, Portuguese, English, German, Polish, Dutch, Russian, Czech, Slovenian, Urdu, et cetera, the sonnet clearly has been a good practice platform for authors of this last millennium. In the sonnet’s brief plot, one can take a ride through its brief territory and there be introduced to an author’s poetic style. What I notice about Mr. Whidden’s two sonnets is they are metrically crisp, thematically unique, and as clear and linguistically clean as any sonnets being written in English now (at least any that I have come across). Both sonnets hearken back to the Baroque style (Metaphysical, as Samuel Johnson called it). In “A Long Dead Message,” sin is effectively placed at the beginning of the sestet, in which a touch of Hopkins appears within the contraries. And although it does not read like Shakespeare’s “Sonnet 130,” that is the sonnet that comes to mind. Reply Phillip Whidden August 8, 2017 I feel very happy to have comments from such a knowledgeable commentator. It’s good to have someone who reads so critically (closely) that you notice the cleanness of the rhythm. I’m very, very careful to stick to the required iambic pentameter unless there is some overriding reason for it to be disrupted. Thank you for noticing. Sort of instinctually I see what you mean by mentioning sonnet 130. It’s great to be mentioned in the same breath as Shakespeare. For good or for ill, I’ve written far, far more sonnets that he wrote. That implies that I have written on many, many topics and in many moods and styles. It’s good to have found a website open to such a traditional form. Reply Leave a Reply to B. S. Eliud Acrewe Cancel ReplyYour email address will not be published.CommentName* Email* Website Notify me of follow-up comments by email. Notify me of new posts by email. This site uses Akismet to reduce spam. Learn how your comment data is processed.