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Introduction
Beat Poetry in General
1. Gary Snyder as a beat poet and application to "This poem is for bear"
The Bear in myths and tales
3.1 The Kamui Cult in Japan
2 Native Americans, the Bear and The Indian Bear Woman
Conclusion
Introduction
Gary Snyder, a member of the so-called Beat Generation, wrote a poem called "This poem is for Bear." As we'll see later on this poem is characteristic for the Beat Generation and reflects important facts and experiences of the life of Gary Snyder. There's a relation to Indian and Japanese mythology and to North American Wildlife. All these aspects had a great influence on Snyder's work.
2. Beat Poetry in general
The Beat Poetry appeared first in the beginning of 1950s. The Beat Generation was represented by poets, writers, singers and songwriters. The writers produced poetry, philosophy, paintings, films, photography, and narratives that expressed the feelings of a group of people who didn't agree with the mainstream thinking. Some main aspects of living as a member of the Beat Generation were e.g. the anti-bourgeois lifestyles, primitivism, criminality (drugs, anarchistic politics), religious experimentation (Zen Buddhism), travel, voluntary poverty, and the sincere expression of inner feelings.
Beat Poets didn't consider themselves as `beat', they wanted to be seen as individuals and not as something in the masses, because they wanted to start some kind of a rebellion against the mass consumer culture of the 1950s.
This rebellion is reflected for example in the structure of the poems, they wrote their poems without thinking about its structure, they didn't follow any conventions and didn't use any stylistic features which were characteristic for `classical' poetry.
2.1. Gary Snyder as a beat poet and application to "This poem is for bear"
Gary Snyder was born in 1930 in San Francisco, California but grew up in the Pacific Northwest. He had many experiences in the natural and wild worlds there, which influenced his work and thought.
For most of the 1960s he lived in Japan and studied formally in a Zen monastery, and the influence of Zen Buddhism continues as a powerful implicit and explicit influence in his thought.
Then he went back to the United States.
If we look at "This poem is for bear" we can see that some of these experiences are reflected in it.
In the beginning of the poem Snyder gives a description of a bear and his life.
Ryan reminds us of the suggestive power of poetry–how it elicits and rewards the reader’s intellect, imagination, and emotions. I like to think that Ryan’s magnificently compressed poetry – along with the emergence of other new masters of the short poem like Timothy Murphy and H.L. Hix and the veteran maestri like Ted Kooser and Dick Davis – signals a return to concision and intensity.
Fulton, Alice. “You Can’t Rhumboogie in a Ball and Chain.” Approaching Poetry: Perspectives and Responses. Ed. Peter Schakel and Jack Ridl. New York: St. Martin’s Press, 1997. 128-29.
Strand, Mark and Evan Boland. The Making of a Poem: A Norton Anthology of Poetic Forms. New
The bebop revolution coincided with the birth of the Beat Generation. In a slightly unbalanced relationship, Beat writers often molded their poetics and style after the playing of such jazz music. "Jazz writers," such as Jack Kerouac and Allen Ginsberg, upheld their poetic ideals to the techniques of jazz musicians, such as rhythm, improvisation, and call and response. The structure of creative writing underwent a change, as the importance of form equaled that of theme.
Allison, Barrows, Blake, et al. eds. The Norton Anthology Of Poetry . 3rd Shorter ed. New York: Norton, 1983. 211.
Kinnell picks a certain style to write his poem. Of all the forms, he chooses to write The Bear with as little words as possible. Through this method, the poet manages to incorporate that like the verses of the poem, life is short. Also, Kinnell makes his poem more realistic by putting us in the driver’s seat. He writes the poem in first person, constantly using the word “I”. First person perspective allows the reader to connect faster than a third person would. We begin to picture our self in the situation and allow our imagination to think like the hunter. By using enjambment, repetition, and short phrases he keeps the poem spontaneous. This allows the reader to quickly visualize events in the poem to help show events that happened within the poem, but not in too much detail that our interest is lost. For example, in the first four lines the poet writes, “In l...
American Bards: Walt Whitman and Other Unlikely Candidates for National Poet. Chapel Hill: University of North Carolina, 2010. Print.
Holbrook, David. Llareggub Revisted: Dylan Thomas and the State of Modern Poetry. Cambridge: Bowes and Bowes, 1965. 100-101.
Michael Gray’s analysis of Dylan’s lyrics being a contrast between hackneyed expressions and “beautifully done” are exemplified in the song “Just Like a Woman.” Dylan’s lyrics “she aches just like a woman but she breaks just like a little girl” is given the harsh description of “maudlin platitude” and deemed to be a “non-statement.” If Dylan’s lyrics cannot uphold against meaningful music of the same category, how can they be expected to stand against literature written for a different field. John Lennon had his own critiques of Dylan’s works, calling out how the abstract nature of his lyrics, having loose definition, never achieved an actual point. Lennon’s definition of “poetry” referred to “stick[ing] a few images together” and “thread[ing] them” in order to create something meaningful. It once again boils down to the fact that Dylan’s music that was written and intended to be received as a live performance. The acknowledgement that “…you have to hear Dylan doing it” is a recognition of his composition’s failure to come across as a normal literary work. It’s all part of a “good game.” This in itself should disqualify Dylan as a possible candidate for the Nobel Prize.
Poetry, Drama, and the Essay. Ed. Joseph Terry. New York: Addison-Wesley Educational Publishers Inc, 2001. 123-154.
American poetry, unlike other nations’ poetry, is still in the nascent stage because of the absence of a history in comparison to other nations’ poetry humming with matured voices. Nevertheless, in the past century, American poetry has received the recognition it deserves from the creative poetic compositions of Walt Whitman, who has been called “the father of American poetry.” His dynamic style and uncommon content is well exhibited in his famous poem “Song of Myself,” giving a direction to the American writers of posterity. In addition, his distinct use of the line and breath has had a huge impression on the compositions of a number of poets, especially on the works of the present-day poet Allen Ginsberg, whose debatable poem “Howl” reverberates with the traits of Whitman’s poetry. Nevertheless, while the form and content of “Howl” may have been impressed by “Song of Myself,” Ginsberg’s poem expresses a change from Whitman’s use of the line, his first-person recital, and his vision of America. As Whitman’s seamless lines are open-ended, speaking the voice of a universal speaker presenting a positive outlook of America, Ginsberg’s poem, on the contrary, uses long lines that end inward to present the uneasiness and madness that feature the vision of America that Ginsberg exhibits through the voice of a prophetic speaker.
Poetry, Drama, and the Essay. Ed. Joseph Terry. New York: Addison-Wesley Educational Publishers Inc, 2001.
Kenyon, Jane. "Poetry 180 - The Blue Bowl." Library of Congress Home. Web. 11 Dec. 2015.
Shippey, T.A. “Symbols in the World of the Poem”. Bloom’s Literature. Facts on File, Inc. Web.
Ferguson, Margaret W., Salter, Mary J., and Stallworthy, Jon. The Norton Anthology of Poetry. fifth ed. N.p.: W.W. Norton, 2005. 2120-2121. 2 Print.