Richard Wilbur Books

Moliere's leading characters often have one major negative trait which dictates their behavior throughout the play. In this they often seem to be mechanical stock characters and not flesh- and - blood living human beings. In 'The Misanthrope' Alceste believes he must tell the truth to everyone he sees. This is despite the advice of his best friend Philinte. Alceste alienates everyone. At the same time he is madly in love with with Celimene. He wants her to go away with him to retreat from hypocritical society. She however flirtatious and light - minded prefers society to him. The play closes with Philinte trying to persuade Alceste not to leave society completely.
In the second play in this volume the leading character is a religious hypocrite. He finds his way into the heart and mind of a wealthy gentleman Orgon and dominates his family life. Tartuffe steals his money , leads Orgon to disinherit his son and offer his daughter to Tartuffe in marriage. Tartuffe attempts to seduce Orgon's wife. Orgon is convinced to hide under a table where he overhears Tartuffe's entreaties. Orgon then decides to eject him from the family but cannot. It is only with the intercession of the king that the religious hypocrite is stopped. This play raised a furor in its day and the Church opposed its production. Moliere's patron Louis XIV allowed its production in private but only after five years allowed its public staging.
In both these plays Moliere viciously satires the human propensity to remain fixed and static in one's own character, and reaction to reality. He derides human folly but always with the redeeming grace of laughter.
For the contemporary reader of the work who does not feel the special force of the work in its original language there often may seem something forced and artificial in the work. Moliere's work it seems to me gain much from being staged and to know them truly reading alone is not enough.

Many people are turned off by the rhyming nature of Tartuffe. Personally I find myself so enthralled with the story that I often fail to notice that the story itself rhymes. Real belly laughs abound as we watch Orgon blindly walk through life, oblivious to the religious-hypocrite's misdeeds. It's an absurd story, but it's meant to be thus. It does miss something if you don't see it performed live but once you have, when you read it as it is presented here, you manage to get full enjoyment!

The Misanthrope exists in much the same credit. This work centers on the protagonist Alceste, whose wholesale rejection of his culture's polite social conventions make him tremendously unpopular. This manifests itself in the primary conflict of the play, which results from Alceste's refusal to compliment a sonnet by Oronte, a character who lacks Alceste's respect for unabashed sincerity.

I'm not as big a fan of The Misanthrope as of Tartuffe but I thoroughly enjoyed this book and was very happy to be exposed to the text this way. This is an excellent rendering.

I rarely read plays (not counting Mr. S.) and rarely read poetry. I'm glad I broke with tradition and read these. I think I went to high school with some of the characters - and 45 years later some of them haven't changed. The plays are so funny that I found myself reading out loud (to myself) using different voices for the characters. I have never done that before and it added to my enjoyment to create a "play" while reading the script.

Most enjoyable - maybe I'll tackle some more plays.

Here they are. The Misanthrope and Tartuffe, arguably Moliere's two most famous plays, translated by Pulizter Prize-winner Richard Wilbur, the crown jewels of his poetic output. These translations are performed all the time, and have proved themselves on the modern stage. But the effect of them is not lessened by reading, as this bookshelf-ready edition shows. They are packed with hilarious observations about the pretentions in us all.

The Misanthrope is about a man who tells the harshest truth to everyone but himself; Tartuffe about hypocricy in religion. They read fast and funny, the rhyming couplets of the original faithfully reproduced. The language seems so natural and witty that you think perhaps these plays weren't written in the seventeenth century. But they were, this species of farce being extinct these days, except in rare places like The Simpsons. I can not only unhesitatingly recommend these, but also all of Wilbur's translations of Moliere. It is rare for a comic author to get such a seriously worthy treatment. Hooray!

In both these plays, Wilbur brings Moliere's true genius to real life. Previous translations of Moliere's work pale by comparison to Wilbur's brilliant translations. It was my feeling, that would Moliere by alive today, and writing in American English, he would write the way Wilbur translated it.

In comparison to prose translations in the past, Wilbur, past US Poet Laureate and Pulitzer Prize winner, truly gives the reader the real feeling of Moliere's "Balletic Comedy" style, as Moliere used his poetry and comedy to make complex and serious points about life of "regular" people, as opposed to royalty such as Shakespeare concentrated on, and so many other playwrites of the past.

In reading Wilbur's translations, one can virtually imagine the cast prancing and mincing across the stage as they humorously render these rhyming couplets at each other, and the audience. The true genius of both Moliere and Wilbur is illustrated most profoundly and strikingly in these translations. Any true lover of Moliere, and even those who have never read him before, should treat themselves to Wilbur's translations for a Moliere experience, that is unparalleled in any other versions previously published.

Richard Wilbur is a master of form. His poems are incredibly stately, balanced, intelligent, and beautiful, and then one notices that everything rhymes exactly where it's supposed to! Bonus points!

If you enjoy more than merely reading excellent poetry that rhymes and makes sense, but also composing some of your own, this is the master to be discipled by. Sitting at Wilbur's feet for years can't help but enable some of his craft to rub off by sheer delight or osmosis. Merely by associating with poetry the way it was meant to be written can permanently raise the bar of anyone's craftsmanship to new levels. There is a richness in Wilbur's best work that is unrivaled among his contemporaries and matched by few of his predecessors (Frost, Robinson, Yeats, Hardy, Housman). Also recommended: get your hands and mind on anything Wilbur has written in the form of Essays/Prose that describe what great poetry is and why it will always be core to the human condition. Although Auden once said 'poetry doesn't make anything happen' in his Sept.1939 tribute to Yeats' death, Wilbur's comes closest to making something happen at the spiritual, cognitive and affective level of the human psyche that proves his subject matter matters and always will. Other than the late Frost, no American poet would be more richly deserving of the Nobel Prize for Literature than Richard Wilbur. But as a sincere Christian, he is laboring for no mortal pay; however, he humbly deserves all the accolades and tributes from what is past,or passing, or to come.

Richard Wilbur is undoubtedly the best poet of the last half of the 20th century. This book collects all his poetry other than Mayflies (published later) and a couple translations. Buy It!

This Pulitzer Prize-winning collection contains all of Wilbur (except his great translations of Moliere and Racine) in reverse chronological order of his books from 1989 to 1954. This is the opposite of most poetry collections, so it seems strange to have the poems get less confident as you read on. Still, the final poem, "The Beautiful Changes," is near-perfect and perfectly sums up Wilbur's paradoxical outlook: beauty is eternal and ever-changing.

Wilbur is old school. He is all about meter and rhyme and beauty. His command of sound and sense is second to none alive. (He has edited a collection of Poe's poetry and is famed for his accurate verse translations of Moliere's plays.)

As I read through this book, I put a star by every poem I liked. Flipping through it now, I see there is a star by almost every poem. I did not find Wilbur as deep or as challenging as Frost or Yeats, poets he is compared to by other reviewers on this site. I can, however, appreciate his mastery of the craft of formal poetry. This is not some bad pseudo-Shelley but really a poetry in the language of our time about the issues of our time.

If you detest rhyme, complex stanzas and short, potent lyrics, by all means avoid Mr. Wilbur. But if you find delight in the artful manipulation of language then you are depriving yourself of happiness in not reading this collection.

UPDATE: Wilbur has released a new COLLECTED POEMS in 2004 that supecedes this edition. It only adds a score or so of poems, but I recommend it because there are a few new ones like "Man Running" that no Wilbur fan should be without.

it's no wonder wilbur was once the poet laureate or that this collection won the pulitzer, the man is good. he uses the language beautifully (the way english was meant to be in poetry), he has tight control of the rhyme, meter, subject, and words in his poems. where he really shines is in his translations. wilbur is one of the best translators living today.

Wilbur is one of the indispensables; impossible to imagine American poetry, or indeed the American trajectory, without these poems, so deftly shaped, giving such wry light. I am grateful for this book.

I first read Richard Wilbur's poems more than 20 years ago, but I have to admit that for most of that time he has been for me like the fire brigade or catastrophic health insurance -- I was glad he was there, but for whatever reason he didn't seem terribly relevant in my life.

This book helped remind me how wrong I have been.

Upon reflection, I realize that at least part of the reason for my undervaluing Mr. Wilbur's work stems from my own shortcoming: I was probably too young to appreciate his delicate insight and wit when I formed my opinions about him. But the main reason is probably because he's such a forgettable personality. He is a white male. Like most men of his generation, he served in the army during World War II. He doesn't use strange punctuation marks or filthy language. I know almost nothing about his personal life, but, as far as I know, he has never considered suicide, he has never been in rehab, he has never gone mad, and he has never been arrested. All he has done is produce beautiful and important poems, virtually non-stop for more than 60 years. In an age in which we are flooded with public personalities that demand to be noticed, that is disappointingly easy to overlook.

Collected Poems, 1943-2004 is probably as close as we're going to get to Mr. Wilbur demanding to be noticed. And if you are the type who enjoys simple pleasures and metrical poise, then you really should notice him as he appears on these pages. Everything Mr. Wilbur wrote through 2004 is included here, including previously unpublished recent poems, song lyrics, children's poems, and the great poet's well-known published works. There is no need to own any other book of Mr. Wilbur's poetry if you buy this.

I'm not enough of a fool to try to use my own words to describe Mr. Wilbur's. Instead, I'll end with the final verse of Seed Leaves, one of my favorite poems in the book:

Forced to make choice of ends,
The stalk in time unbends,
Shakes off the seed-case, heaves
Aloft, and spreads two leaves
Which display no sure
And special signature.

Indeed.

Wilbur's collected poems would be in every American home if poetry was taught better. He is the most technically proficient poet in American literary history. In matters of rhythm, meter, rhyme, shape and form, he is a sculptor, a magician.

Check out these tercets from "First Snow in Alsace," remembering that Wilbur saw pretty much three years of straight combat in World War Two:

The snow came down last night like moths
Burned on the moon; it fell till dawn,
Covered the town with simple cloths.

Absolute snow lies rumpled on
What shellbursts scattered and deranged,
Entangled railings, crevassed lawn.

You think: beyond the town a mile
Or two, this snowfall fills the eyes
Of soldiers dead a little while.

Collected Poems 1943-2004 is an anthology of poetry by Pulitzer Prize and National Book Award winner Richard Wilbur, who has previously served as poet laureate of the United States. The compendium features works in a variety of formats, meters, and rhyme schemes, with themes ranging from the mundane to the extraordinary. A superb cross-sampling of the best of Wilbur's work, Collected Poems 1943-2004 is a treasury recommended for both libraries and private poetry shelves, and is certain not to disappoint true poetry lovers. "On Having Mis-Identified a Wild Flower": A thrush, because I'd been wrong, / Burst rightly into song / In a world not vague, not lonely, / Not governed by me only.

This collection of the poems of Richard Wilbur is in several ways a gem. Not only does it contain the bulk of the works of Wilbur, who is one of the very few major poets of our era, it is also that rarity in today's publishing industry; that is, a beautiful book, well printed on good quality paper in a most readable typeface, and elegantly bound. Wilbur's work is notable for his affinity with the poetry of Europe and elsewhere. His translations from the French, in particular, are all of a high standard. Wilbur is not afraid to write verse which has rhyme, rhythm, and elegance. This is a book to be treasured.

What would you do if the first letter of your name would disappear? Richard Wilbur gives a comical way to view the disappearance of the alphabet. He makes his readers think about the importance of the alphabet. 'What if there were no letter A? Cows would eat HY instead of HAY' This would be an excellent book to read to elementary students. After reading this book, they could think of what other words would be or sound like with a letter missing. The illustrations by David Diaz are unique to say the least. He uses vibrant colors and illustraions to stress the importance of what Wilbur is trying to convey. This book made me think about the alphabet in a different way. It will do the same for young readers.

Richard Wilbur's The Disappearing Alphabet imagines what the world would be like if the letters of the alphabet vanished, in verses on subjects ranging from the ordinary to silly to sublime and existential. For instance, without "G," there would be no green and oak trees would be blue and pastures pink; without "N," birds would have wigs instead of wings; as for "O":

What if there were no letter O?
You couldn't COME, you couldn't GO,
You couldn't ROVE, you couldn't ROAM,
And yet you couldn't stay at HOME!
Where would you be, had heaven not sent you
The letter O to orient you?

Each letter is portrayed on a single page, with verses ranging from two to twelve lines. Each verse is beautifully illustrated by David Diaz's exquisite and unexpected designs, such as a lovely banana with a disgusting eel instead of a peel (illustrating the importance of the letter "P"). Diaz's illustrations are stylized in intense, gradient, glowing colors. The illustrations each overlay a pale yellow version of the letter found somewhere in the background of the page. The type is treated with the same care as the illustrations, with the letter to which the verse is addressed set off in a bold, colorful, sans serif font. Younger children will enjoy the nonsense-like poetry and the playfulness of the language, while older children will discover new and unusual vocabulary words and find inspiration by the possibilities of language. The introduction exhorts children to protect the alphabet: "Be careful, then, my friends, and do not let / Anything happen to the alphabet." This book will offer children of all ages an appreciation of letters, words, and language.

I highly recommend this book. The lines are easy to remember, and are very quotable. They provide an introduction to poetry and to the play with language. They introduce vocabulary with humor. The illustrations are quite extraordinary, the print of high quality.

I read this play for a college comparative literature course and it was great. Moliere is extremely easy to read and his work is very enjoyable. You can't help but be astonished by Arnolphe's views of women, but his ignorance gives you a good laugh. Enjoy!!

Bolt achieves with his translation of Moliere's classic comedy what David Hirson did with his 1991 play, La Bete. While remaining true to the general language of Moliere's time and rhyming couplets in iambic pentameter, Bolt is still able to sprinkle modern touches that make the comedy pop out even more. Bolt's British wit sparkles through the French comedy, making for an enjoyable read as well as performance.

Interesting, too, is Nicholas Dromgoole's introduction, which makes some incredibly interesting points yet also keeps in tone with Bolt's take on Moliere's commedia dell'arte-influenced School For Wives.

Whether you're a fan of Moliere or a novice to his works, Bolt's translation of The School for Wives is a fantastic read that keeps the comedy alive, even after 350 years.

I read this play for a French Lit. class (in the original French)and enjoyed Moliere's sense of humor. I laughed out loud as I watched everyone's plans go horribly awry. A great classic social commentary. It centers around one man's obsessive fear of cuckoldry (when a man's wife cheats on him), and the extremes to which he goes to avoid this. He practically emprisons a girl/young woman so that she can be raised properly and will make a faithful and obedient wife when she finally matures. This of course leads him into a muddle of confusion and coincidences as everything goes wrong . . .

This is a book with many stories- the Wright brother's efforts to fly and consequent fame, life at the turn of the century and what was expected from women. Not many women today could relate to this book about Katherine Wright's dedication to her family. Even though she was an educated woman, she gave up her life to take care of her family and almost missed out on a chance for love late in life. Although aimed at older children I think adults would enjoy reading the book and browsing the photos.

Loved this book. Katharine Wright inspired me to want to name my daughter (if I have one)Katharine. But I wish people would spell Katharine Wright's name RIGHT in reviews. AR, not ER in the Katharine.

Katherine was a woman of her times, although she graduated from college, which was rare at that time, and the first in her family to go to college. The book reflected those times. The relationships in the book were sensitively portrayed, and quite accurate. Katherine was an inteligent, warm woman, and was support for her brothers, and was sometimes called the third Wright Brother. She was charming and outgong, which helped the reticent Orville after Wilbur died. Through her eyes, you could find a relationship with her brothers. I recommend the book because it puts a face on the era, the place (Dayton, Ohio and Kittyhawk, NC) and the efforts and success of the brothers Wright.

This book is not only gorgeous to browse through yet exceptionally poetic and useful at the same time. It is a bilingual book- french and english with absolutely fabulous illustrations to aid the imagination. Sucha lovely work and an intriguing way to involve both adults and children into Baudelaire's complex poetry. Well done!

The translation here strays a bit from the original for the sake of making it rhyme. Although this may raise the eyebrows of some purists, I feel that the english version has charms of its own. The design of this book is really outstanding, and the old duo-tone photographs used to illustrate it are quite poetic in their own right, and seem even more so as a result of the way they are combined with the text. The book as a whole evokes images of a lost paradise, which I have never seen expressed so well outside of the writings of Proust. I even like the way it smells! This would make an excellent gift for any lover of poetry or photography.

This book is not out of print. I do not know why you list it that way

I expected this collection to be maudlin, melancholy or wistfully reminiscent. WRONG!

This is a marvelous collection of sonnets (a feat in itself) that gives the reader a glimpse into the life of a man whose wife died at an young age, leaving him with two sons to raise. His grief is obvious, but so is his love of life, of his sons and of having and sharing new experiences. His sense of humor endures the hard times. I laughed out loud at the Classified Ad series. My favorite poem is the lighthearted "Canny Shopper".

If you love poetry, even if you don't know that you love poetry, buy this book. It is a beautiful little book. I have now purchased half a dozen for dear friends. Each one has been impressed with my (until now hidden!) literary sense of fine poetry.

This is such a beautifully written little volume, so sensitive, insightful,and inspirational. Ms. Braham's choice of language to describe these poets and their poetry is exquisite! I would highly recommend it to any who enjoy a terrific read!

When I finished this lovely little book I sat there under my reading light for several minutes filled with the that rare satisfaction that some pieces of art lend you. These four poets are among my favorites but I learned so much about them in so little space and their poems came alive to me in an extraordinary way. I went back to my dusty shelves and resurrected them. The book rides on the shoulders of the poet who wrote it for she provides the quiet, direct intimacy that binds you to all of them. She does for each of them something that no award, and they all have many, could ever do and that is she brings them into your hearts. Moser's art adds additional beauty to it. Buy it, give it to people you care deeply about. Share with them the light.

I've read all but one of Pulitzer-Prize winner Richard Wilbur's translations of French master playwright Moliere. This is my favorite. I was provoked to laugh out loud many times while reading it, something I rarely do with contemporary comedies, much less ones written in the 17th Century. The School for Wives I found more fresh and delightful than any present-day television sit-com and The Learned Ladies had its moments as well (especially the poetry reading by the pedantic Trissotin).

The School for Wives centers around a man, Arnolfe, who is afraid of being cuckolded. He has raised a girl from when she was very young to know nothing but praying and sewing, so that when she marries she will not have the wherewithal to cheat on him. Of course, a young man in the neighborhood happens to see her while Arnolfe is out. In a series of misunderstandings, the young man ends up enlisting Arnolfe's aid in wooing the girl. Arnolfe's every attempt to thwart their union is in turn thwarted by her. She may have been raised ignorant, but she is not stupid.

The Learned Ladies is, in present context, somewhat misogynist. Much of the comedy revolves around the matriarch of a family who rules her household "like a man." The plot again involves young lovers separated by a willful parent. The daughter of the matriarch wants to wed a young man who is equally in love with her but her mother wants her to wed the stuck-up court poet Trissotin. This is really just a pretext for a lot of the deflation of pomposity at which Moliere excels. For those who like the old battle-of-the-sexes screwball comedies, here is a likely progenitor.

The most famous of Moliere's plays are The Misanthrope, The Hypocondriac and Tartuffe. If you've already read them and like them, then I have no reservation recommending this delightful double-header.

Moliere and Wilbur, though they did not, of course, work together, are a match for Gilbert and Sullivan as a wedding of talents. Each of these plays is very funny and full of insights about human vanity.