Salon Review Quotes

A reflection on Robert Lowell Robert Lowell knew I was not one of his devotees. I attended his famous “office hours” salon only a few times. Life Studies was not a book of central importance for me, though I respected it. I admired his writing, but not the way many of my Boston friends did. Among poets in his generation, poems by Elizabeth Bishop, Alan Dugan, and Allen Ginsberg meant more to me than Lowell’s. I think he probably sensed some of that. To his credit, Lowell nevertheless was generous to me (as he was to many other young poets) just the same. In that generosity, and a kind of open, omnivorous curiosity, he was different from my dear teacher at Stanford, Yvor Winters. Like Lowell, Winters attracted followers—but Lowell seemed almost dismayed or a little bewildered by imitators; Winters seemed to want disciples: “Wintersians,” they were called. A few years before I met Lowell, when I was still in California, I read his review of Winters’s Selected Poems. Lowell wrote that, for him, Winters’s poetry passed A. E. Housman’s test: he felt that if he recited it while he was shaving, he would cut himself. One thing Lowell and Winters shared, that I still revere in both of them, was a fiery devotion to the vocal essence of poetry: the work and interplay of sentences and lines, rhythm and pitch. The poetry in the sounds of the poetry, in a reader’s voice: neither page nor stage. Winters criticizing the violence of Lowell’s enjambments, or Lowell admiring a poem in pentameter for its “drill-sergeant quality”: they shared that way of thinking, not matters of opinion but the matter itself, passionately engaged in the art and its vocal—call it “technical”—materials. Lowell loved to talk about poetry and poems. His appetite for that kind of conversation seemed inexhaustible. It tended to be about historical poetry, mixed in with his contemporaries. When he asked you, what was Pope’s best work, it was as though he was talking about a living colleague . . . which in a way he was. He could be amusing about that same sort of thing. He described Julius Caesar’s entourage waiting in the street outside Cicero’s house while Caesar chatted up Cicero about writers. “They talked about poetry,” said Lowell in his peculiar drawl. “Caesar asked Cicero what he thought of Jim Dickey.” His considerable comic gift had to do with a humor of self and incongruity, rather than wit. More surreal than donnish. He had a memorable conversation with my daughter Caroline when she was six years old. A tall, bespectacled man with a fringe of long gray hair came into her living room, with a certain air. “You look like somebody famous,” she said to him, “but I can’t remember who.” “Do I?” “Yes . . . now I remember!— Benjamin Franklin.” “He was a terrible man, just awful.” “Or no, I don’t mean Benjamin Franklin. I mean you look like a Christmas ornament my friend Heather made out of Play-Doh, that looked like Benjamin Franklin.” That left Robert Lowell with nothing to do but repeat himself: “Well, he was a terrible man.” That silly conversation suggests the kind of social static or weirdness the man generated. It also happens to exemplify his peculiar largeness of mind . . . even, in a way, his engagement with the past. When he died, I realized that a large vacuum had appeared at the center of the world I knew.

In this watercolor Gavarni portrays an individual whose father was an industrialist and whose older brother was a distinguished professor. From the looks of him, Hippolyte Beauvisage Thomire had a keen eye for fashion in casual clothing, however. He represents the new generation of bourgeois consumers that emerged during the July Monarchy. He is the modern young man off the newly invented fashion plates and out of the cast of Balzac’s Human Comedy. Charles Baudelaire, the great cultural critic of Louis Philippe’s reign in latter years, called the artist Gavarni “the poet of official dandysme." Dandysme, Baudelaire said (in his famous essay “De l’heroisme de la vie moderne” [The heroism of modern life], which appeared in his review of the Salon of 1846), was “a modern thing.” By this he meant that it was a way for bourgeois men to use their clothing as a costume in order to stand out from the respectable, black-coated crowd in an age when aristocratic codes were crumbling and democratic values had not yet fully replaced them. The dandy was not Baudelaire’s “modern hero,” however. “The black suit and the frock coat not only have their political beauty as an expression of general equality,” he wrote, “but also their poetic beauty as an expression of the public mentality.” That is why Baudelaire worshiped ambitious rebels, men who disguised themselves by dressing like everyone else. “For the heroes of the Iliad cannot hold a candle to you, Vautrin, Rastignac, Birotteau [all three were major characters in Balzac’s novels] . . . who did not dare to confess to the public what you went through under the macabre dress coat that all of us wear, or to you Honore de Balzac, the strangest, most romantic, and most poetic among all the characters created by your imagination,” Baudelaire declared.

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