I Knew a Woman
I knew a woman, lovely in her bones,
When small birds sighed, she would sigh back at them;
Ah, when she moved, she moved more ways than one:
The shapes a bright container can contain!
Of her choice virtues only gods should speak,
Or English poets who grew up on Greek
(I’d have them sing in chorus, cheek to cheek).
How well her wishes went! She stroked my chin,
She taught me Turn, and Counter-turn, and Stand;
She taught me Touch, that undulant white skin;
I nibbled meekly from her proffered hand;
She was the sickle; I, poor I, the rake,
Coming behind her for her pretty sake
(But what prodigious mowing we did make).
Love likes a gander, and adores a goose:
Her full lips pursed, the errant note to seize;
She played it quick, she played it light and loose;
My eyes, they dazzled at her flowing knees;
Her several parts could keep a pure repose,
Or one hip quiver with a mobile nose
(She moved in circles, and those circles moved).
Let seed be grass, and grass turn into hay:
I’m martyr to a motion not my own;
What’s freedom for? To know eternity.
I swear she cast a shadow white as stone.
But who would count eternity in days?
These old bones live to learn her wanton ways:
(I measure time by how a body sways).
Appropriately enough, a poem about a dancer is all about rhythm. The poem is very loose with it's rhyme structure, but is a little more stringent with it's syllable count. The first line is divided into two five syllable phrases: I knew a woman(5), and lovely in her bones(5). Line two follows the same five syllable structure creating a rhythm to the poem that is dropped on the third line in the second phrase. The second phrase she moved more ways than one, could be taken to refer both to the titular woman, and to the poem itself as it breaks it's five syllable repetition with an extra syllable. In the next line since there are no commas the two five syllable phrases will be melded into singular lines. Of her choice virtues only gods should speak(10) The poem is particular not in lauding her beauty, but her capacity to be lovely. The first stanza has so far only made mention of her body in a non-sexual and figurative capacity. Lovely in her bones, bright container, and choice virtues.
The second stanza keeps the ten syllable structure, but modifies it by splitting it into two phrases, one of six and another of four. The topic of the poem turns on how she teaches the narrator to dance. The narrator in turn is showing off his rhythmic virtuosity by keeping variations of rhythm yet maintained within a repeating structure similar to a dance.
The poem becomes explicit in the second line of the second stanza concerning the relationship between the narrator and the eponymous woman. She taught him how to dance. This may also be taken figuratively as how to love as well. A trope(turn in greek) is also a poetical device used to turn the meaning of a phrase. Here the narrator may be attributing his capacity to write good poetry to her as well.
The stanza itself has several little parts in it worth noting. A rake in 18th century English was short for Hellrake or a profligate and dissolute man. Here contrasted with the sickle that he calls her. All this is short for making hay. Making hay means using an opportunity while it lasts. There is also the proverbial roll in the hay.
The third stanza begins with a goose and a gander. Gander here has the dual meaning of both a male goose and a good long look. That is to say, love likes long adoring looks. Gander and geese go together. With the line her full lips pursed we get the idea of the dancer straining to catch an errant note. Here errant means to go astray.
The fourth and final stanza comes back to making hay. Letting moments come and making the best of them. The second line of the fourth stanza has a little alliteration in it. Here the narrator makes a flippant remark about his willingness to die for the motions she makes. The closing lines are a couplet with an end rhyme of ways and sways. The poem comments on how she has wanton ways. Which comments on how the dancers immodesty is a virtue in the narrator's eyes.
The second stanza keeps the ten syllable structure, but modifies it by splitting it into two phrases, one of six and another of four. The topic of the poem turns on how she teaches the narrator to dance. The narrator in turn is showing off his rhythmic virtuosity by keeping variations of rhythm yet maintained within a repeating structure similar to a dance.
The poem becomes explicit in the second line of the second stanza concerning the relationship between the narrator and the eponymous woman. She taught him how to dance. This may also be taken figuratively as how to love as well. A trope(turn in greek) is also a poetical device used to turn the meaning of a phrase. Here the narrator may be attributing his capacity to write good poetry to her as well.
The stanza itself has several little parts in it worth noting. A rake in 18th century English was short for Hellrake or a profligate and dissolute man. Here contrasted with the sickle that he calls her. All this is short for making hay. Making hay means using an opportunity while it lasts. There is also the proverbial roll in the hay.
The third stanza begins with a goose and a gander. Gander here has the dual meaning of both a male goose and a good long look. That is to say, love likes long adoring looks. Gander and geese go together. With the line her full lips pursed we get the idea of the dancer straining to catch an errant note. Here errant means to go astray.
The fourth and final stanza comes back to making hay. Letting moments come and making the best of them. The second line of the fourth stanza has a little alliteration in it. Here the narrator makes a flippant remark about his willingness to die for the motions she makes. The closing lines are a couplet with an end rhyme of ways and sways. The poem comments on how she has wanton ways. Which comments on how the dancers immodesty is a virtue in the narrator's eyes.
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