Skip to main content

Donald Hall on the Ambition of Poets

Poetry became my passion after I fell in love with Walter de la Mare's "Silver" in Mrs. Edna Pickett's sophomore English class circa 1962.

Donald Hall

Donald Hall

Note: Article Misclassification

This article is misclassified. It should be on Owlcation; its purpose is to inform and educate regarding a poetry issue. It's not about sharing information for composing poetry as a hobby.

A Critical Look at Contemporary Poetry

In his essay, "Poetry and Ambition," former poet laureate, Donald Hall, offers sixteen points about the appropriateness of ambition in the lives of poets. As he focuses on this issue, he levels some important criticism at contemporary poets and poetry.

Hall's first point claims, "I see no reason to spend your life writing poems unless your goal is to write great poems." In recommending "ambition" for poets, he defines the term to filter out the negative connotations that render the meaning to be more akin to "over-ambition."


Hall says, "True ambition in a poet seeks fame in the old sense, to make words that live forever." He argues that poets need to focus more on the poems than on themselves. He decries the ubiquity of poetry writing workshops that turn out poems like an assembly line; he calls these poems "McPoems."

And Hall is most emphatic about this point as he nearly rages, "Abolish the M.F.A.! What a ringing slogan for a new Cato: Iowa delenda est!" He seems to be attempting to eviscerate the well-known Iowa Writers' Workshop with his sharp quip. Hall then emphasizes the advice from Horace's "Ars Poetica":

. . . but let them not come forth
Till the ninth ripening year mature their worth.
You may correct what in your closet lies:
If published, it irrevocably flies.

The poet then asserts that poets must not put out their works until they have spent ten years working on them! He mentions Alexander Pope, who composing seventeen centuries later managed to cut the time to a short five years instead of ten.

Hall would now pare that time down to at least eighteen months before publishing. He is convinced that the value of a poem can only be vetted with proper time and nurture.

Workshop Impossible

Hall supports this claim with an idea from Robert Frost, asserting that poets should give more attention to each poem than to be concerned about how many poems they have published. Frost has admonished: "It's only when you get far enough away from your work to begin to be critical of it yourself that anyone else's criticism can be tolerable."

Frost insisted that students should bring to class only their old pieces, which have lost the false golden patina that impairs the vision of the would-be poet to detect the flaws of his piece.

It is this fact of the necessity of time that makes impossible the efficacy of "workshopping." While attending the workshop, the participants have to compose immediately for assignments.

Because writers get their models mostly from the examples they have read, "it is essential for poets, all the time, to read and reread the great ones." For the teachers of the workshops, this task becomes difficult because they are always busy reading the work of immature writers—their students.

Scroll to Continue

For students, they are too busy trying to garner peer praise, that they lose their ambition to make great poems, in favor of pleasing other immature writers.

Hall praises poets who "stay outside the circle of peers," pointing to Walt Whitman, who did not attend Harvard, and Emily Dickinson, who lived a cloistered life, and Robert Frost, "who dropped out of two colleges to make his own way."

Lone Wolf vs Poet Companions

The Robert Frost reference is especially useful because Frost referred to himself as a lone wolf, as Hall calls these independent minded poets. Yet Hall does contradict himself slightly when he claims that most poets need the companionship of other poets.

Hall points to William Wordsworth, Samuel Taylor Coleridge, William Carolos Williams, H.D, Ezra Pound, Robert Bly, Adrienne Rich, and John Ashbery as examples of poets who thrived because they had poet friends.

Considering the names of the last three, one might be tempted to adhere more to the lone wolf status: with friends like the poetasters Bly, Rich, and Ashbery—who could tolerate enemies!

Still the main point Hall makes in this essay is a valid one, when he admonishes poets to make the poem more important than fame and vast quantities of publications. Hall's assignment for poet is, "Be as good a poet as George Herbert. Take as long as you wish."

Introduction to Donald Hall

© 2016 Linda Sue Grimes


Linda Sue Grimes (author) from U.S.A. on December 05, 2016:

Yes, you make a great point. We are influenced in myriad ways, whether it be in our writing or other choices we make in life. Have a blessed day, Natalie. Thanks for offering your point of view. I always find your comments informative and substantive.

Natalie Frank on December 04, 2016:

It is hard for a writer, any writer I think, to teach writing. You mention that X factor that can't be identified that makes writing successful. I think part of it is because it isn't a single X but countless ones, as each piece even those written by the same author or poet has a different set of characteristics that make it successful and makes it appeal to readers in a certain way. Then there are the times in which one lives and the circumstances of the day among other environmental influences which go into it. Obviously if someone were to stand up and give the "This is a day hat will live in infamy" speech,

Linda Sue Grimes (author) from U.S.A. on December 03, 2016:

Yes, workshops for creative writers are doomed to fail, unless they could perhaps focus on merely technical stuff. Learning about literary devices could be useful--but it should be emphasized repeatedly that there is an X factor that makes each creative piece successful. And no one has ever identified that X factor, otherwise it would have a name other than X.

W. H. Auden spoke out against poets teaching creative writing classes; he insisted that if poets teach, they should teach academic classes, not creative writing classes. Apparently, he thought such teaching was even detrimental to the poet/teachers as well as the students.

Natalie Frank from Chicago, IL on December 02, 2016:

Interesting book and great summary. I definitely agree with Poe's opinion of work shopping not just for poets but for fiction writers also. When done in a program it's usually done with a new piece based on an assignment. This is not likely to be the students best work or one they are the most invested in. Having them workshop and older piece they feel is well written but they aren't over the moon in love with it since it's sat for a while would likely make the experience more worthwhile. Thanks for writing this.

Related Articles