Baroque musicians.‘Pachelbel’s Love Song’ by Michael Maibach The Society April 7, 2019 Beauty, Culture, Love Poems, Poetry 4 Comments When we listen To his sweet song, Did he then know It’d live this long? A song that gives To every age, A timeless sense Of history’s page. Reminding you, Reminding me, Love songs can last Eternity. From age-to-age Repeating ways Of loving one Across our days. We know it’s true When our hearts love. We know for sure There’s God above. For He must have Placed in our time Our love to meet So hearts could chime. Pachelbel’s song – His lasting gift, To heal our wounds And hearts uplift. When one sweet day You love one girl, Then to her soft This song unfurl. So years will pass In harmony And growth, entwining Her heart with thee. Michael Charles Maibach began writing poems at age nine. Since then he has continued writing poems, and sharing them with friends. In November 2015 he opened a Facebook page – Poems of Michael Charles Maibach. It offers 140 poems written since then. His career has involved global business diplomacy. He is a native of Peoria, Illinois. Today Michael resides in Old Town Alexandria, Virginia. Views expressed by individual poets and writers on this website and by commenters do not represent the views of the entire Society. The comments section on regular posts is meant to be a place for civil and fruitful discussion. Pseudonyms are discouraged. The individual poet or writer featured in a post has the ability to remove any or all comments by emailing submissions@ classicalpoets.org with the details and under the subject title “Remove Comment.” Share this:Click to share on Twitter (Opens in new window)Click to share on Facebook (Opens in new window) 4 Responses James Sale April 7, 2019 Beautiful tribute to a wonderful piece of music – the Pachelbel is one of those few pieces that stand alongside Bach’s great works and doesn’t seem inferior. Thanks. Reply Mark Stone April 7, 2019 Michael, 1. Hello! In the first stanza, the switch from “we” to “he” is confusing. Here is a possible fix: When first he wrote This sweet love song, Did he know it Would live this long? 2. I think it would sound better if there is a “for” before “eternity.” Here is a possible fix: Reminding you, Reminding me, Love songs last for Eternity. 3. “then to her soft” doesn’t make sense to me. Here is a possible fix: When one sweet day You love a girl, Softly to her This song unfurl. 4. In the final stanza, I believe that” year” should be “years.” Also, it says that “her heart” is entwining with “thee.” If you want to say that “her heart” is entwining with “your heart,” I think you would use “thine” instead of “thee.” If you would like to use “thine,” here is a possibility: As through the years Your lives entwine, You’ll grow in love, Her heart with thine. 5. Notwithstanding these comments, I enjoyed the poem very much. Reply Monty April 8, 2019 I find the author’s sentiment in the above piece to be applaudable; it seems genuine and felt; but I find the poem itself (as a poem) to be tepid and amateurish. Of course it could be improved by Mr Stone’s astute observations, along with his professionally-congruous suggestions for remedies . . . but it’d still have a long way to travel. Reply Ewald E. Eisbruc April 9, 2019 At this moment in time, Mr. Maibach may be one of the most dimetre-driven, rhyming poets in American literature. Others, like Ms. Foreman and Mr. Wise, may utilize it in their ballads, but it is central to Mr. Maibach’s poetry, even though he writes in other “forms” as well. Although poetry has been associated since classical times with science, philosophy, agriculture and math, among other fields, one of its longest and deepest associations is with music; but music, particularly since the Medieval and Renaissance eras, has become more and more complex. Though there have been historical moments, as during the Classical era in music (1770-1800) when German poetry and music attempted a rapprochement, the serious chasm between them has increased. [Indeed, one of the things I am most hounded by and constantly fighting is poetry’s separation from all these fields of knowledge, and more.] Though I don’t particularly like the dimetre, loved especially by free-versifiers, I applaud Mr. Maibach’s attempt to use it here in his lyric on Pachelbel; it fits; as does Mr. Maibach’s simple diction. [That confluence of simple language and music is, of course, one of the driving forces behind folk/popular music.] Throughout my poetic career, I have striven to capture music in my language, with my first simple attempts following popular songwriters, and later attempts trying to do the impossible, that is, through language, meeting the great composers (Sidney Lanier, among others, comes to mind here.). Of course, it’s all been a failure; but note, as in the case of Mr. Sedia, for example, one can gain traction in one’s poetry from the music one strives for; or, to put it diff’rently, by having, as an ideal in one’s being (soul, heart, mind, etc), a certain music, it can penetrate one’s writing in unpredictable ways. Even free-verse writers, like Whitman, in his use of operatic and Biblical cadences, or Allen Ginsberg, with his use of jazz, are cases in point, if benighted. Reply Leave a Reply Cancel Reply Your 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.