Starting out and taking flight

Category: Poetry (Page 1 of 2)

More Poems of a Spiritual Nature

  • Research book (a gem) that I discovered and used for this post: The Penguin Book of Spiritual Verse: 110 Poets on the Divine: [Edited by Kaveh Akbar, Penguin Random House UK, 2022]

Rumi: 1207- Lift Now the Lid of the Jar of Heaven
(Many Sufis believed: Intoxication might thin the veil between here and the divine)

Pour, cupbearers, the wine of the invisible,
The name and sign of what has no sign!
Pour it abundantly, it is you who enrich the soul;
Make the soul drunk, and give it wings!
Come again, always fresh one, and teach
All our cupbearers their sacred art!
Be a spring jetting from a heart of stone!
Break the pitcher of soul and body!
Make joyful all lovers of wine!
Foment a restlessness in the heart
Of the one who thinks only of bread!
Bread’s a mason of the body’s prison,
Wine a rain for the garden of the soul.
I’ve tied the ends of the earth together;
Lift now the lid of the jar of heaven.
Close those eyes that see only faults,
Open those that contemplate the invisible
So no mosques or temples or idols remain,
So ‘this’ or ‘that’ is drowned in His fire.

King David: 1000BC: Psalm 23
The Lord’s My Shepherd: From The Kingdom of Israel
(The music of the ear: Kaveh Akbar: Pp 18-19)

The Lord’s my shepherd, I’ll not want;
He maketh me to lie down
In green pastures: He leadeth me
The quiet waters by.
My soul he doth restore again,
And leadeth me to walk
Within the paths of righteousness
E’en for his own name’s sake.
Yea, though I walk through the valley of the shadow of death,
I will fear no evil:
For thou art with me; thy rod and thy staff
They comfort me still.
Thou preparest a table for me
In the presence of mine enemies;
Thou anointest my head with oil,
And my cup runneth over.
Surely goodness and mercy shall follow me all the days of my
life:  and I will dwell in the house of the Lord for ever.

Mechthild of Magdeburg
(Germany: Christian mystic: 1207-1282:

Of all that God has shown me
I can speak just the smallest word,
Nor more than a honeybee
Takes on his foot
From an overspilling jar

Kabir: 1440-1518: India:
(Celebrated oneness, wonder and mystery)

Brother, I’ve seen some                                    
Astonishing sights:                                           
A lion keeping watch                                        
Over pasturing cows;                                        
A mother delivered                                           
After her son was born;                                    
A guru prostrated                                              
Before his disciple;
Fish spawning
At the tops of trees                                                 
A cat carrying away                                          
A dog;
A gunny-sack
Driving a bullock-cart;
A buffalo going out to graze,
Sitting on a horse;
A tree with its branches in the earth,
Its roots in the sky;
A tree with flowering roots.

Basho: 1644-1694: Japan

In Kyoto,
Hearing the cuckoo,
I long for Kyoto.
Death-sick on my journey
My dreams run out ahead of me
Across the empty field

William Shakespeare: Sonnet 91
(About Love, Material Possessions and Love’s Power Over Us)

Some glory in their birth, some in their skill,
Some in their wealth, some in their body’s force,
Some in their garments, though new-fangled ill,
Some in their hawks and hounds, some in their horse;
And every humour hath his adjunct pleasure
Wherein it finds a joy above the rest,
But these particulars are not my measure:
All these I better in one general best.
Thy love is better than high birth to me,
Richer than wealth, prouder than garments’ cost,
Of more delight than hawks or horses be;
And having thee of all men’s pride I boast:
Wretched in this alone, that thou mayst take
All this away and me most wretched make.

Spiritual Poetry Through the Ages

My Current passion is researching mystical poetry down through the ages.

WILLIAM BLAKE

The Tyger

Tyger, Tyger, burning bright
In the forests of the night,
What immortal hand or eye
Could frame thy fearful symmetry?

In what distant deeps or skies
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand dare seize the fire?

And what shoulder, & what art,
Could twist the sinews of thy heart?
And when thy heart began to beat,
What the hammer? What the chain?

In what furnace was thy brain?
What the anvil?
What dread grasp
Dare its deadly terrors clasp?

When the stars threw down their spears
And water’d heaven with their tears,
Did he smile his work to see?
Did he who made the Lamb make thee?

Tyger, Tyger, burning bright
In the forests of the night,
What immortal hand or eye
Dare frame thy fearful symmetry?

William Blake’s Painting of a God-like Image

Auguries of Innocence

To see a World in a Grain of Sand
And a Heaven in a Wild Flower,
Hold Infinity in the palm of your hand
And Eternity in an hour.

A robin Red Breast in a Cage
Puts all Heaven in a Rage.
A dove house fill’d with doves & Pigeons
Does the winged life destroy;

But he who kisses the joy as it flies
Lives in eternity’s sun rise.

The Sick Rose

O Rose, thou art sick.
The invisible worm.
That flies in the night
In the howling storm,

Has found out thy bed
Of crimson joy;
And his dark secret love
Does thy life destroy.

WILLIAM SHAKESPEARE:

Sonnet 91: About Love

Sonnet 91: About Love and its Power Over Us

Some glory in their birth, some in their skill,
Some in their wealth, some in their body’s force,
Some in their garments, though new-fangled ill,
Some in their hawks and hounds, some in their horse;
And every humour hath his adjunct pleasure
Wherein it finds a joy above the rest,
But these particulars are not my measure:
All these I better in one general best.
Thy love is better than high birth to me,
Richer than wealth, prouder than garments’ cost,
Of more delight than hawks or horses be;
And having thee of all men’s pride I boast:
Wretched in this alone, that thou mayst take
All this away and me most wreched make.

From The Merchant of Venice: Act IV Scene I: Portia to Shylock

The quality of mercy is not strained;
It droppeth as the gentle rain from heaven
Upon the earth beneath. It is twice blest;
It blesseth him that gives and him that takes:
Tis mightiest in the mightiest; it becomes
The throned monarch better than his crown:
His sceptre shows the force of temporal power,
The attribute to awe and majesty,
Wherein doth sit the dread and fear of kings;
But mercy is above this sceptred sway;
It is enthroned in the hearts of kings,
It is an attribute to God himself;
And earthly power doth then show likest God’s.

Ann Hathaway’s Cottage: Unsplash

John Keats: Ode On A Grecian Urn

* Beauty is truth, truth beauty

Thou still unravished bride of quietness,
Thou foster-child of silence and slow time,
Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:
What leaf-fringed legend haunts about thy shape
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these? What maidens loth?
What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?

W. B. Yeats: The Second Coming:

  • Relevance to the cultural chaos of today

Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everyhwere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
Surely some revelation is at hand;

Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: a waste of desert sand;
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Wind shadows of the indignant desert birds.
The darkness drops again but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?

Poetry Down Through the Ages: Some favourite poets:

W. H. Auden: Stop the Clocks

Stop all the clocks, cut off the telephone,
Prevent the dog from barking with a juicy bone,
Silence the pianos and with muffled drum
Bring out the coffin, let the mourners come.

For the complete poem, go to the following site:

https://www.poetryfoundation.org/poems/159365/twelve-songs-ix

* Note the melodic iambic pentameter and internal rhyme

Lord G.G. Byron: (1788-1824): Extract from Beppo

A great example of romantic poetry: expressing sentiments, emotions and the imagination

   I love the language, that soft bastard Latin,
    Which melts like kisses from a female mouth,
    And sounds as if it should be writ on satin,
    With syllables which breathe of the sweet South,
    And gentle liquids gliding all so pat in,
    That not a single accent seems uncouth,
    Like our harsh northern whistling, grunting guttural,
    Which we’re obliged to hiss, and spit, and sputter all.

    I like the women too (forgive my folly!),
    From the rich peasant cheek of ruddy bronze,
    And large black eyes that flash on you a volley
    Of rays that say a thousand things at once,
    To the high Dama’s brow, more melancholy,
    But clear, and with a wild and liquid glance,
    Heart on her lips, and soul within her eyes,
    Soft as her clime, and sunny as her skies.

    Eve of the land which still is Paradise!
    Italian Beauty didst thou not inspire
    Raphael, who died in thy embrace, and vie
    With all we know of Heaven, or can desire,
    In what he hath bequeathed us? – in what guise,
    Though flashing from the fervour of the Lyre,
    Would words describe thy past and present glow,
    While yet Canova can create below?

The Metaphysical Poets wrote as if God was in heaven and all was well down here on earth

John Donne: The greatest love poet of them all wrote to God like a lover: 1572-1631

The Good Morrow

I wonder, by my troth, what thou and I
Did, till we loved? Were we not weaned till then?
But sucked on country pleasures, childishly?
Or snorted we in the Seven Sleepers’ den?
’Twas so; but this, all pleasures fancies be.
If ever any beauty I did see,
Which I desired, and got, ’twas but a dream of thee …

The Canonisation

For God’s sake hold your tongue, and let me love,
Or chide my palsy, or my gout,
My five gray hairs, or ruined fortune flout,
With wealth your state, your mind with arts improve,
Take you a course, get you a place,
Observe his honour, or his grace,
Or the king’s real, or his stampèd face
Contemplate; what you will, approve,
So you will let me love …

A Valediction Forbidding Mourning
As virtuous men pass mildly away,
And whisper to their souls to go,
Whilst some of their sad friends do say
The breath goes now, and some say, No:

So let us melt, and make no noise,
No tear-floods, nor sigh-tempests move;
’Twere profanation of our joys
To tell the laity our love …

The Sun Rising

Busy old fool, unruly sun,
Why dost thou thus,
Through windows, and through curtains call on us?
Must to thy motions lovers’ seasons run?
Saucy pedantic wretch, go chide
Late school boys and sour prentices,
Go tell court huntsmen that the king will ride,
Call country ants to harvest offices,
Love, all alike, no season knows nor clime,
Nor hours, days, months, which are the rags of time …

 Batter My Heart, three-person’d God

Batter My Heart, three-person’d God, for you
As yet but knock, breathe, shine, and seek to mend;
That I may rise and stand, o’erthrow me, and bend
Your force to break, blow, burn, and make me new.

I, like an usurp’d town to another due,
Labour to admit you, but oh, to no end;
Reason, your viceroy in me, should defend,
But is captiv’d, and proves weak or untrue.

Yet dearly I love you, and would be lov’e fain,
But I am betroth’d unto your enemy;
Divorce me, untie or break that knot again.
Take me to you, imprison me, for I,

Except you enthrall me, never shall be free,
Nor ever chaste, except you ravish me.

Eliot Quote: We shall not cease from exploration, and the end of all our exploring will be to arrive where we started and know the place for the first time.

[The feature image for this post is of a painting by Henry Holiday of Dante and Beatrice]

High Flights: Beginnings and Endings

 High Flight

Oh! I have slipped the surly bonds of Earth
And danced the skies on laughter-silvered wings;
Sunward I’ve climbed, and joined the tumbling mirth
Of sun-split clouds, — and done a hundred things
You have not dreamed of — wheeled and soared and swung
High in the sunlit silence. Hov’ring there,
I’ve chased the shouting wind along, and flung
My eager craft through footless halls of air. . . .

Up, up the long, delirious burning blue
I’ve topped the wind-swept heights with easy grace
Where never lark, or ever eagle flew —
And, while with silent, lifting mind I’ve trod
The high untrespassed sanctity of space,
Put out my hand, and touched the face of God.

John Gillespie Magee, Jr

When I write a longer work, such as a memoir or a novel, I focus on structure as well as on content, particularly while I am editing the first draft. For me beginnings and endings are important. I try to fulfill the promise set out in the beginning with the ending. Continue reading

My Brother Donny

Swallowed By The River

She’s not had such fun

in a long while.

Donny is like a dolphin

in the water,

all slick and oily skinned,

diving down and up

and showing off.


C’mon! C’mon’!

he shouts.

He dives again,

this time staying down longer

Five…six…seven seconds

she counts.

And up into the softening summer’s light

snowy head darkened

with water.


I’ll beat my record this time!

And down again:

Five…six…seven…

Eight… nine… ten.

She feels a stab of fear

but shakes it off when his jubilant head shoots up once

more like a too-quick birth.


He’s there again laughing

and pleased as punch!

On his face in the water

just floating there.


Donny won’t remember

this moment when he goes quiet and swallows the river.

a funny thing happened …

Cargoes by John Mansfield

I woke up the other morning with an old verse I’d learnt at school — not sure which year, but it was at least half a century ago — playing in my head like on a tape recorder. And the rhythm was still there!

I’m sure some of my readers will have also known this poem from school days: “Cargoes” by John Masefield?

Even the foreign words were still intact and popping up out of the subconscious like bubbles from a geyser.

It took me some days before I got around to Googling the poem and finding oral renditions of it on YouTube. I think what I liked about the poem (and still do) was the exotic-sounding words, not to mention the rhythm of the seas, and the sense of the wind in the sails. It lifted me out of the dreary classroom and into exotic faraway places .

The contrast of the last stanza, with the two preceding ones, always enchanted me in class. That’s when the rhythm changes to mimic the type of sturdy, industrial-age “coaster” vessel and its more prosaic cargo.

I read somewhere that the cargo items in Stanza 2 were taken directly from the Bible. Continue reading

Our Galactic Address: A Poem

Galactic Address

What are we doing here on this moving globe
Earth insects swimming in the Orion Way
far from the centre of the Galaxy
clinging to the cavity
of the Local Bubble
in this solar system called the Milky Way?

An insignificant metal ball,
trapped in motion,
endlessly, drawing
circles concentrically
around the fiery sphere,
mirrored in this movement
by sibling planets all
disciples of the father star?

As I look up into the night sky
from here, my galactic address,
the other planets are invisible
to the naked eye within the softly
gleaming ribbon arching there.
Better here, methinks, from where
I stand at the inner edge of this spiral
shaped confluence of gas and dust,
than in the Galactic Centre—
thought to be a large Black Hole!

© Anne Skyvington

Photo Credit: NASA found on Wikihow

A Window into Poetry

The photo below is of my first childhood house at Waterview, via South Grafton. It was taken several decades after my time spent there within the bosom of my first family. I think it is the inspiration for the poem, below, which is probably my best.childhood-house-photo-2006

Poetry is not my most practised genre, but I have been told that my prose writing is poetic and rhythmical. Like many writers, I lack confidence in my ability to create successful poems. For this reason, this post will be followed by recent research exploring poetry I carried out online:  what it means to many others like me, struggling to understand and/or to produce it.

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T.S.ELIOT: The Love Song of J. Alfred Prufrock

The Ageing Dante holding a copy of The Divine Comedy

Sentiments in the poem are of loss, love and melancholy related to growing old. Eliot was reading Dante Alighieri’s main works when he wrote this poem. Above is a portrait of Dante holding a copy of The Divine Comedy

 

The Love Song of J. Alfred Prufrock

Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels

In the room the women come and go
Talking of Michelangelo.

Then how should I begin
To spit out all the butt-ends of my days and ways?
And how should I presume?

T.S. Eliot

Urban images are juxtaposed with those of art and beauty by T. S. Eliot

detail-birth-of-venus-botticelli

The negative urban images in the poem are juxtaposed with very pleasant images. Some of these are of beautiful women, like in the painting by Botticelli and art in salons, and the mermaids frolicking in the sea at the end. This “feminine imagery” stays with me, rather than the negative ones of growing old, smoky streets, and lonely men. That is partly because of the rhythm and the sound of the words as they slip off the tongue, sublimating the ugliness inherent in some of the lines.

From The Love Song of J. Alfred Prufrock by T.S. Eliot

Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows?

I should have been a pair of ragged claws
Scuttling across the floors of silent seas.

And the afternoon, the evening, sleeps so peacefully!
Smoothed by long fingers,
Asleep … tired … or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis?

https://allpoetry.com/The-Love-Song-Of-J-Alfred-Prufrock

The Voice of T.S. Eliot

Eliot’s poem, “The Love Song of J. Alfred Prufrock“, and especially the second and third lines, are said to herald in modernism in poetry.  His is an excellent example of a unique voice. The voice reverberates from the words, almost jumping out of the page. It resonates for the reader, reaching out to decode the metaphorical content.

T.S. Eliot wrote this poem in 1910 when he was twenty-two years old. It was first published in 1915 at the instigation of Ezra Pound.

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