George Sterling - Poems by the Famous Poet - All Poetry

Famous poet /

George Sterling

1869-1926

In 1892, Sterling met Ambrose Bierce, who he called "The Master". Bierce published Sterling's first book of poetry. "The Testimony of the Suns", was written prior to 1901, and dedicated to Bierce. Sterling published eleven books of poetry, he also wrote critical works and short stories. He was also the unofficial Poet Laureate of San Francisco.
Sterling committed suicide by taking cyanide in his room at the Bohemian Club on November 17, 1926.

George Sterling was born to a prominent family in Sag Harbor, Long Island, New York in 1869. His father wanted him to become a priest, so George at age 17 was sent to a Catholic college in Maryland where his studies included poetry -- the priesthood's loss was literature's gain. In 1892, Sterling met Ambrose Bierce, who he called "The Master". Bierce published Sterling's first book of poetry. "The Testimony of the Suns", was written prior to 1901, and dedicated to Bierce. Sterling published eleven books of poetry, he also wrote critical works and short stories. He was also the unofficial Poet Laureate of San Francisco.

Sterling committed suicide by taking cyanide in his room at the Bohemian Club on November 17, 1926.
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"In Extremis"

Till dawn the winds' insuperable throng
passed over like archangels in their might,
with roar of chariots from their stormy height,
and broken thunder of mysterious song-
by mariner or sentry heard along
the star-usurping battlements of night-
and wafture of immeasurable flight,
and high-blown trumpets mutinous and strong.
Till louder on the dreadful dark I heard
the shrieking of the tempest-tortured tree,
and deeper on immensity the call
and tumult of the empire-forging sea;
but near the eternal Peace I lay, nor stirred,
knowing the happy dead hear not at all.
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Analysis (ai): "In Extremis" presents a powerful depiction of a storm through the lens of an observer on the brink of death. The relentless winds, likened to mighty archangels, create an atmosphere of overwhelming force and chaos. The imagery of broken thunder and star-usurping battlements evokes the cosmic scale of the storm. Amidst this tumultuous display, the speaker finds solace in the impending embrace of death, believing that the chaos will not disturb the peace of the departed.

Compared to other works by the same author, this poem stands out for its restrained yet effective language. Sterling's depiction of the storm is both vivid and concise, using carefully chosen words to convey the intensity of the experience. In contrast, other poems by Sterling may indulge in more florid and emotional language, resulting in a different tone and effect.

Within the context of its time period, "In Extremis" reflects the prevailing themes of Romanticism. The poem's focus on the sublime grandeur of nature, the insignificance of human life in the face of vast forces, and the search for solace in the face of mortality all align with Romantic sensibilities. The poem's brevity and focus on a single, powerful moment also align with the Romantic emphasis on the fragment and the importance of intense personal experiences.
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2  

Flame

Thou  art that madness of supreme desire,
Which lacking, beauty is but dross and clay.
Within thy veins is all the fire of day
And all the stars divinity of fire.
Thine are the lips and loins that never tire,
And thine the bliss that makes my soul dismay.
Upon thy breast what god at midnight lay,
To make thy flesh the music of his lyre?
Ah! such alone should know thy loveliness!
Ah! such alone should know thy full caress,
O goddess of intolerable delight!
I beg of Fate the guerdon and the grace,
Far beyond death, to know in thine embrace
Eternal rapture in eternal night.
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Analysis (ai): This poem exalts the intensity of desire, comparing it to divine power. The speaker desires a passionate and intoxicating love that transcends mortality. The language is sensual and evocative, with references to fire and music. The poem's brevity and lack of punctuation create a sense of urgency and longing.

Compared to the author's other works, this poem is more explicitly erotic and less introspective. It reflects the decadent and romantic sensibilities of the turn of the 20th century, a time when artists sought to explore the extremes of human experience.
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7  

Happiest

Calling you now, not for your flesh I call,
   Nor for the mad, long raptures of the night
   And passion in its beauty and its might,
When the ecstatic bodies rise and fall.
I cannot feign:  God knows I see it all—
   The flaming senses, raving with delight,
   The leopards, swift and terrible and white,
Within the loins that shudder as they crawl.

All that could I exultingly forego,
   Could I but stand, one flash of time, and see
Your heavenly, entrancing face, and know
   I stood most blest of all beneath the sun,
   Hearing these words from your fond lips to me:
       “I love, love you, and love no other one!”
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Analysis (ai): The poem "Happiest" by George Sterling explores the complex nature of love, emphasizing the speaker's desire for a deeper, spiritual connection rather than superficial physical pleasures. The language is simple and direct, conveying the speaker's raw emotions without resorting to flowery or sentimental language.

Compared to Sterling's other works, which often explore themes of nature, mortality, and the human condition, this poem stands out for its focus on the complexities of love. It shares a similar emotional depth and sincerity, but its exploration of the contrast between physical and spiritual love is unique.

Within the context of its time period, the poem reflects the changing attitudes towards love and sexuality. In the Victorian era, passion and sensuality were often suppressed, while the twentieth century saw a more open and accepting view of these themes. "Happiest" navigates this transition by acknowledging both the allure of physical desire and the longing for a deeper connection.
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