7/17/2017 Interview with Jose Garcia Villa ­ TeacherVision

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The following excerpt is an interview with the poet Jose
Garcia Villa. In thisinterview, he is asked to explain "Lyric 17."
You should nd it very interesting tocompare your
interpretation of each of the seven couplets to the poet's
personalinterpretations.
If you nd that your interpretations differ from Villa's, do not
feel that yourideas were necessarily incorrect. Note how
both the interviewer and the poetadmit that it is not an easy
task to give an exact prose interpretation of a
poeticexpression, particularly because poems are not
explicitly stated; the interviewer,at one point, admits: "I have
always found the next lines dif cult to comprehend":

It must have the wisdom of bows

And it must kneel like a rose.

Focus here on the poet's response: "You must remember,"

Villa said, "somelines and some poems cannot be explained.
But let me try..."

Once you have nished reading the interview, compare his

interpretationswith your own and with the interpretations
made by members of your cooperative group.

The Interview

Villa's lyrical and exquisitely crafted poem,"Lyric 17" (Villa,

1942),can serve as the basis for discussing his techniques of
poetry. Although the poet did not setout to achieve this end,
he does so, gracefullyand economically. As you shall see, this
beautiful poem leads to a unique de nition of what apoem
should be.

In a taped interview, Villa provided me withan explication of

this poem. Of the rst twolines,

First, a poem must be magical

Then musical as a sea-gull.
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Villa said, "These lines mean exactly what theysay: That a

poem must have magic, and it mustbe musical."

I asked the poet, "What meaning would youascribe to the

next lines?"

It must be a brightness moving

And hold secret a bird's owering.

Villa explained, "There are some brightnesses which are

stationary and static, but a poem,like a bird, must y. This is
the differencebetween prose and poetry. Prose is
atfootedand stationary; poetry soars, ies like a bird.The
stationary bird, when rst seen, appearslike a rosebud. When
it begins to y, it opensup and spreads its wings and blooms
like a ower."

I asked him to explain the images in the fthand sixth lines,

It must be slender as a bell

And it must hold re as well.

To these lines, Villa responded, "A poem is economical; it's

slender as a bell, it has no adiposetissue; it's lean and clean.
Poorly written poemsshould, of necessity, go on a diet, to rid
themselves of excess verbiage and adjectives. And by' re' in
the next line, I simply mean that apoem must have a spirit."

"I have always found the next lines dif cultto comprehend," I
confessed:

It must have the wisdom of bows

And it must kneel like a rose.

"You must remember," Villa said, "somelines and some poems

cannot be explained.But let me try. I am speaking of the
archer'sbow. A good bow is one that knows when toshoot,
and one that directs the arrow to itsmark. Just as a good
poem, it never goes astray.To 'kneel like a rose' is a metaphor
for humility. All ne people are humble and a poemshould
also be humble, however beautiful it is."

For the seventh and eighth lines,

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It must be able to hear

The luminance of dove and deer.

"There's a good man behind every nepoem. A good poet is

usually a good person.'Luminance' naturally means
brightness.When I see a good face, it's a good face and
Irespond. When I see a bad face, it is the facefull of crime,
even though he doesn't proclaimhis crime. His face proclaims
it out loud."

"In other words," I asked, "the poet knowsthings

instinctively?"

"Yes, naturally," Villa answered.

And for the meaning of the next couplet, Iprodded Villa to

discuss,

It must be able to hide

What it seeks, like a bride.

Villa, without hesitation, began, "A poemmust not explicitly

state meaning. The reader issupposed to sense it out, feel it.
The languageitself doesn't tell you, but the
substructurebehind that language is the real meaning. It
isnot explicit and declarative. That's why when Isay, 'It must
have the wisdom of bows,' youmust guess at what I mean,
and children loveto guess at meaning. That's why they love
riddles. I used to love riddles as a child."

The nal couplet of this rather unorthodoxsonnet,

And over all I would like to hover

God, smiling from the poem's cover.

is possibly one of the most beautiful ever written. "The last

line has a masterfully dramaticeffect. At the same time, this
couplet is, to me,the most mystifying one in the poem," I
commented.

Villa nodded and offered this explanation:"When you see a

blessed creature, God shinesand hovers over that saintly
creature. Thepoem itself creates a God-hood, and the
poemradiates Godness. At the same time, God ishovering

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over it, acknowledging the Godnessradiating from the poem,

itself, which embodies the spirituality existing in a poem and,
atthe same time, radiates it to others."

Indeed, there is a Godness to this poem; andthere is a God-

hood within this poet. PoetRichard Eberhardt understood
this, too, evidenced in a review of Villa's work in which
hestates:

A pure, startling, and resoundingbody of poetry, informed

with somuch legerity and re, remarkablyconsistent in its
devotion to spiritualreality. The subject matter is formidable,
the author a God-driven poet.He arrives at peaks without
showingthe strenuous effort of climbing; thepersonal is lost
in a blaze of linguistic glories.... (Eberhardt, 1958)

The poet concludes that reading poetrymight be compared

to enjoying riddles, andthat children enjoy solving riddles.
Since poetry is neither explicit nor declarative, childrenmust
be taught through sheer joy to sense outand feel the
meaning. Is there not much of thisthat goes on when we are
"sensing" or drawingconclusions, or making an inference?
Perhapswe should become more concerned about providing
children with joyous language experiences that will enable
them to better understand poetry.

1. Compare and contrast your interpretations of "Lyric

17" to Villa's.

2. Discuss Villa's comments with your cooperative group

to explore other interpretations.

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3. Were you surprised by any of Villa's explanations?

Explain.

Final Product

Interview one of the students in your cooperative group

about his or her de nition of poetry. Write down these views
and follow the same interview formatas that used with Villa.

Excerpted from English Teacher's Portfolio of Multicultural

Activities.

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