Monday, 28 September 2015

Mark Scrivener Poetry Blog 88 Earth, Water, Air, Fire


EARTH, WATER, AIR, FIRE



The four "elements" of a number of ancient and medieval traditions are not, of course, basic "substances" in the sense of modern chemistry. Rather they represent "states" or ways of things - not only of matter ( solid, liquid, gaseous and plasma or energy- if you wish) but are also, for example, related to the so-called four temperaments- melancholic, phlegmatic, sanguine and choleric. In the most general sense that can also be seen as that which takes fixed form (earth), that which flows (water), that which is expansive and light like wind and flying (air) and that which is radiating and warming (fire) . In this metaphorical sense they can also be related to the consonants of speech to some degree (in a feeling sense). This is about qualities- it is not proposed as part of the scientific or observation classification of speech sounds- phonology or linguistics. Plosive consonants- d, t, p, d, k, g and to a degree m and n (when not "hummed") are made by creating a definite form with tongue, teeth, mouth etc and then releasing it quickly on the out-breath and can be thought of as "earth", the sound l with which the tongue rises and falls like a wave can be thought of as relating to "water", the round r "rolls" lightly can be related to air and the fricatives or blown sounds (eg, z, s, sh, f, v, h ) have a certain forceful energy that can be related to "fire". This little experimental piece attempts to use this (the different metres used are also related to the "elements" in a rhythmic sense). As I have said, this is not an academic argument- the best way to appreciate it is probably to read it aloud or at least be very aware of the sounds mentally. (note- UK Aust. moulded = US molded, centre= center and spiralling = spiraling)








                   EARTH, WATER, AIR, FIRE



Geometric crystal structures,

dark of hard-compacted rock depths,

massive and age-moulded mountains,

stony cliffs and veins of metal,

bleak, expansive, desert stillness,

take the stable shapes of earth.



Lulling of low-lapping ripples' shore-splash,

wild, gale-blown billows loud-lashing the land,

streams gurgling, rivers long-looping the plains,

calm, level lake-face reflecting light blue,

sun-glittered raindrops slow-pooling to puddles;

flow with life forms of the world of the waters.



In the rush, roll, and whirl of rough wind,

in the whisper of leaf-rustling breeze,

in a tree-crashing hurricane's roar,

in spring zephyr's soft drift brushing by,

in a winter wind's ice-whistling rage,

in the spiralling rise of warm currents;

runs the breathing, free swirl of the air.



The fury of unfolding, dancing fire,

the still intensity of single flame,

the sun, sight-dazzling centre of day sky,

from heaven giving heat to earth and ocean,

a volcano's hidden and stone-melting heart,

and even embers fading from fierce shining,

reveal the vivifying force of heat.

Thursday, 24 September 2015

Mark Scrivener Poetry Blog No 87 Twilight With Bird, Georgica


TWILIGHT WITH BIRD, GEORGICA



A short lyric to convey the sense of harmony that is apparent out in the country as opposed to urban life. The kookaburra is, of course, a famous Australian bird. They sometimes look like they are in deep thought but in reality usually they are inspecting the ground for prey.

Kookaburras are terrestrial tree kingfishers of the genus Dacelo native to Australia and New Guinea, which grow to between 28–42 cm (11–17 in) in length. The name is a loanword from Wiradjuri guuguubarra, onomatopoeic of its call.

The kookaburra's loud call sounds like echoing human laughter. They are found in habitats ranging from humid forest to arid savannah, as well as in suburban areas with tall trees or near running water. Even though they belong to the larger group known as "kingfishers", kookaburras are not closely associated with water. From Wikipedia




 Kookaburra at Georgica NSW



Kookaburra on 1946 Australian Stamp






              TWILIGHT WITH BIRD, GEORGICA

Now Venus is white diamond of the dusk,
a western cynosure, focal in day's fading.

The hills and valleys seem
endowed with immanental shining
at times of starting and departing light.

A contemplating kookaburra,
who laughed with dawn's conceiving,
now perched upon a power line pole,

in black relief against
the evanescent gold,
respectfully
regards the last of light's receding.

Monday, 21 September 2015

Mark Scrivener Poetry Blog No 86 Witch's Kitchen from Faust


WITCH’S KITCHEN from FAUST by GOETHE



After Auerbach's Cellar where Mephistopheles. has failed to interest Faust in that particular sort of low life we find him taking Faust to the realm of the witch's kitchen. On the one hand this serves a plot function as Faust, the oldish scholar, is to be regenerated to such a degree that a young woman (Margaret/Gretchen) can fall for him. On the other hand these fantastic scenes (like the Witch's Kitchen and later Walpurgis Night) have a sort of symbolic role to play in Goethe's overall view of life. Without getting too theoretical and dogmatic, I think it is fair to say that they have something to do with the "night" side of human nature- the subconscious, sexual and other instinctive drives and sometimes irrationality. It is notable that the witch's brew is a sort of parody of the alchemist's ideal of the "philosopher's stone" or even the eternal life of the spirit as spoken of in Christianity and other religions. Not only does it take thirty years off Faust's life, but it strengthens the erotic instincts in him with which Mephistopheles hopes to snare him- "... there soon will be/ A Helen in each girl you see,"






WITCH’S KITCHEN

ON A LOW HEARTH A BIG KETTLE STANDS OVER A FIRE. IN THE STEAM THAT RISES FROM IT VARIOUS SHAPES REVEAL THEMSELVES. A FEMALE MONKEY SITS BY THE KETTLE SKIMMING IT AND MAKING SURE IT DOESN’T OVERFLOW. THE MALE MONKEY , WITH THE LITTLE ONES, SITS NEAR HER, WARMING HIMSELF. THE WALLS AND CEILINGS ARE DECORATED WITH THE STRANGEST IMPLEMENTS OF WITCHCRAFT.

FAUST AND MEPHISTOPHELES ENTER

FAUST

I’ve set against this mad-brewed magic thing!
You pledge I’ll be restored now in
This chaos of insanity?
Do I desire help from this old wife?
Shall her froth-slopping cookery
Take thirty years from off my life?
I'm lost if you have nothing with more merit.
All hope's already vanishing.
But hasn’t nature or some noble spirit
Come up with balm or some such thing?

MEPHISTOPHELES

You’re talking sense once more. Now look,
One way is naturally rejuvenating;
But it is written in a different book,
A curious chapter for your taking.

FAUST

I’d like to know it.

MEPHISTOPHELES


Good! A means that needs no gold
Or quacks or sorcery- just go,
Get out there in the field and fold
And start to learn to dig and hoe.
And hold yourself and your thoughts in
A sphere thus strictly limiting;
There live with beasts as beast, don’t feel it as a loss
To dress the fields you harvest with your dung!
Believe, the best way known is this,
For eighty years you’ll keep quite young!

FAUST

I am not used to that and I can’t bring myself
To take a spade in hand for health.
A narrow life like that is not my style.

MEPHISTOPHELES

So we still need the witch’s wiles.

FAUST

But why this old wife? Don’t you think
That you yourself could brew the drink?

MEPHISTOPHELES

A splendid pastime! I could make
A thousand bridges in the time it takes.
Not only science, skill and art,
But also patience plays a part.
A quiet spirit works for years- this course
Gives time to give the fermentation force.
And all that goes into the brew;
Quite wonderful things they are! I own
The devil taught her how, that’s true,
But he can’t make it all alone.

NOTICING THE ANIMALS

It seems your mistress isn’t home.

ANIMALS

At banquet,
Out from home,
Through chimney alone.

MEPHISTOPHELES

How long’s she normally outdoors?

ANIMALS

As long as we shall warm our paws.

MEPHISTOPHELES (TO FAUST)

How do you find these tender beasts?

FAUST

I’ve never seen anything more ridiculous.

MEPHISTOPHELES

Oh, no, a little chat like this
Is just the thing that I like best.

TO THE ANIMALS

Explain to me, cursed puppet group,
What are you stirring in that stew?

ANIMALS

We’re cooking thinned-out beggar’s soup.

MEPHISTOPHELES

You will have many for that brew.

MALE MONKEY (APPROACHING MEPHISTOPHELES
AND FAWNING)

O let the dice roll,
And give me the gold
And let me win all!
How bad in our place,
Much gold would increase
My wit now as well!

MEPHISTOPHELES

This ape would prize his luck could he
Just get into the lottery!

MEANWHILE THE YOUNG MONKEYS HAVE BEEN PLAYING WITH A BALL WHICH THEY NOW ROLL FORWARD

MALE MONKEY

The world's like this;
Goes up and down,
Rolls endlessly;
It rings like glass-
Breaks easily!
Has hollow sound.
Here it shines lightly,
And here more brightly:
Alive am I!
Dear son, I say,
Stay right away!
You needs must die!
It’s made of clay,
Its pieces fly.

MEPHISTOPHELES (POINTING)

So why the sieve?

MALE MONKEY (GETTING IT DOWN)

Were you a thief,
I’d know it straight away.

HE RUNS TO THE FEMALE MONKEY AND LETS HER LOOK THROUGH IT

Look through it, be brief,
You know who’s the thief,
Don’t you, but dare not say?

MEPHISTOPHELES (NEARING THE FIRE)

What of this pot?

MALE AND FEMALE

The stupid clot!
He knows not the pot,
He knows not the kettle!

MEPHISTOPHELES

Rude, beastly pair!

THE MALE MONKEY

Now sit in big chair,
Take duster and settle!

HE FORCES MEPHISTOPHELES TO SIT

FAUST
(WHO DURING THIS TIME HAS BEEN STANDING BEFORE A MIRROR, NOW STEPPING CLOSER TO IT, NOW STEPPING AWAY AGAIN)

What do I see? What sight in heaven's gleam
Is shown within this magic mirror's sheen!
O, love, lend me your swiftest, wide-winged power
And guide me to her presence now!
But if I don’t stay put; yes, if I dare
To venture near, if I persist,
She starts to vanish in a mist-
A woman’s fairest image there!
Yet could it be? Could woman be so fair?
In this reclining figure do I see
The quintessential heavenly?
Could such a one be found on earth?

MEPHISTOPHELES

Of course, if a god has struggled six full days
And at the end sings his own praise,
He’s brought some clever thing to birth.
So gaze till filled up for this while;
I’ve ways to find a small pearl of your own,
And happy’s he who sees fair fortune smile,
And as her bridegroom leads her home.

FAUST IS STILL GAZING INTO THE MIRROR. MEPHISTOPHELES STRETCHES OUT IN THE ARMCHAIR
AND, PLAYING WITH THE DUSTER, CONTINUES SPEAKING


Well, here I sit, a king enthroned. Indeed,
I have the sceptre here, the crown is all I need.

THE ANIMALS (WHO SO FAR HAVE BEEN MAKING STRANGE MOVEMENTS AROUND ONE ANOTHER, BRING MEPHISTOPHELES A CROWN WITH GREAT CLAMOURING)

O just be so good,
With sweat and blood,
This crown now to lime!

(THEY TAKE THE CROWN CLUMSILY, BREAKING IT IN TWO. THEN THEY JUMP AROUND WITH THE PIECES.)

It’s done now, let be.
We chatter and see,
We hear and we rhyme-

FAUST (AT THE MIRROR)

O grief! I'm sure I'll lose my mind.

MEPHISTOPHELES (POINTING TO THE ANIMALS)

My head is nearly reeling at their sports.

ANIMALS

And if we have luck,
And if our rhymes tuck,
Why- then we have thoughts!

FAUST (AS ABOVE)

My heart is starting to catch flame!
Oh, let us flee from here at once!

MEPHISTOPHELES (AS IN ABOVE POSITION)

As poets, one thing they can claim:
Theirs is a very candid stance.

THE KETTLE CAULDRON THAT THE FEMALE MONKEY TO LOOK AFTER, SENDS A GREAT FLAME BLAZING UP THE CHIMNEY. THE WITCH COMES DOWN THROUGH THE FLAME WITH A DREADFUL SHRIEKS

THE WITCH

Ow! Ow! Ow! Ow!
You damned, fool beast, you cursed, old sow!
Neglecting the pot, you’ve singed your mistress now!
Damned beastly pair!

NOTICING MEPHISTOPHELES AND FAUST

What have we here?
Why are you here?
What do you want?
How’s it you came?
The pain of flame
Upon your frame!

SHE DIPS THE SKIMMING SPOON INTO THE KETTLE AND SPLATTERS FLAME TOWARDS FAUST, MEPHISTOPHELES AND THE CREATURES. THE ANIMALS WHIMPER.

MEPHISTOPHELES
(REVERSING THE BRUSH HE HOLDS IN HIS HAND, SMASHING INTO THE GLASSES AND POTS)

In two! In two!
There lies the brew!
There lies the glass!
Just fun, a farce,
The beat, hag-arse,
To melodies from you.

HE CONTINUES WHILE THE WITCH RETREATS IN RAGE AND HORROR

You know me now? Monster! Skeleton!
Do you now know your master and your lord?
What’s stopping me from striking on,
And smashing you and all your monkey horde?
Is my red coat not honoured in this place?
Do you not see my rooster feather? Shame!
Or have I covered up my face?
And do I have to give my name?

THE WITCH

My lord, forgive me my rough hello!
I see no horse hoof down below,
And your two ravens, where are they?

MEPHISTOPHELES

This once no further blame, for I
Admit that quite some time’s gone by
Since we last met. Since that far day
All things have had a lick of culture’s brew,
Likewise the devil you once knew.
Yes, that old Nordic phantom is no more;
Do you see horn, or tail, or claw?
And as regards the foot, which I still need to use,
It would give folk the wrong idea,
Therefore I have employed, as do so many youths,
False calves for many a good year.

THE WITCH

I lose my sense and reason here,
To see my squire Satan now once more !

MEPHISTOPHELES

No woman, no; that name just brings me pain!

THE WITCH

But why, what has it done to you?

MEPHISTOPHELES

It’s long been stuff of fable, though I'm sure
That humans are no better off. It's true
The evil one has gone, but evil ones remain.
So call me baron now and everything is fine.
I am a cavalier, like other cavaliers;
And don’t you dare to doubt my noble line.
See, this is how my coat of arms appears!

HE MAKES AN INDECENT GESTURE

THE WITCH (LAUGHING IMMODERATELY)

Ha, ha! That is your style, fine sir!
You’re just the rogue you ever were.

MEPHISTOPHELES

Learn this, my friend! Without a hitch,
This is the way to get around a witch.

THE WITCH

Now gentlemen, what can I do for you?

MEPHISTOPHELES

A good glass of your well-known brew!
Please make it of your oldest too;
The years just multiply its power.

THE WITCH

Most gladly! Here I have a bit,
That I occasionally sip,
That has no longer the slightest stink;
I’ll gladly give you a small glass now.

SOFTLY

But if, quite unprepared, this man should take a drink,
He will, as you well know, not live more than an hour.

MEPHISTOPHELES

He is a friend, who’ll feel the benefit it weaves;
I wish to grant the best your brewing gives.
So draw your circle, speak your spell,
And then give him a good glass full!

THE WITCH WITH STRANGE GESTURES, DRAWS A CIRCLE AND PLACES WONDEROUS THINGS IN IT. MEANWHILE THE GLASSES START TO RING, THE KETTLES START TO RESOUND, MAKING MUSIC. AT LAST SHE FETCHES A GREAT BOOK, PLACES THE MONKEYS IN THE CIRCLE IN SUCH A WAY THAT THEY MAKE HER LECTERN AND HOLD THE TORCH FOR HER. SHE BECKONS FAUST TO STEP INSIDE WITH HER.

FAUST
No- tell me, where’s all this lead? This throng
Of frenzied gestures, mad carry-on?
A most disgusting fraud- such stuff
Is known to me and hated well-enough.

MEPHISTOPHELES

What rot! It’s just a laugh- don’t fuss.
Don’t be so stiff, severe and strict!
She must, like a doctor, have some hocus-pocus
So you can feel the fullest benefit.

HE FORCES FAUST TO STEP INTO THE CIRCLE

THE WITCH (STARTING TO RECITE OUT OF THE BOOK WITH GREAT EMPHASIS)

You must see then!
From One make Ten,
Let Two go, when
Three’s made alike-
You’re rich all right.
Then lose the four!
From five and six,
So says the witch,
Make Seven and Eight,
It’s finished straight:
And Nine is One,
And Ten is None.
That is the witches’ one-times-one.

FAUST

I think the old crone speaks in fever.

MEPHISTOPHELES

It’s still, my friend, nowhere near over;
I know it well, thus babbles the whole book;
I spent some many hours upon this jewel-
A stream of contradiction looks
As arcane to the wise as to the greatest fool.

his art is old and new, friend. See-
It was the fashion through the ages,
Through three and one and one and three,
To spread not truth but error’s stages.
And so some chat, teach undisturbed;
For who would tangle with such fools?
For mostly people think, if they just hear a word,
That it must let them form some thought as well.

THE WITCH (CONTINUING)

The science with
High power is
From all the world concealed.
He who thinks not
Receives the lot,
Not trying it’s revealed.

FAUST

Why does she pile the nonsense higher?
I feel as though my head is breaking.
I think I hear a whole mad choir,
A hundred thousand idiots speaking.

MEPHISTOPHELES

Enough, oh worthy Sibyl, enough!
Bring on your drink, swift-fill the cup
Right to the very brim now- such
Won’t harm my friend at all. For he
Is one of many a degree,
Who has already gulped down much.

THE WITCH, WITH MUCH CEREMONY, POURS THE DRINK INTO A CUP, FROM WHICH, AS FAUST LIFTS IT TO HIS MOUTH, A SLIGHT FLAME SHOOTS FORTH

MEPHISTOPHELES

Straight down with it! Keep on, go to!
It’ll give your heart much joy. Be game!
The devil’s bosom buddy, you
Should not shy from a little flame.

THE WITCH BREAKS THE CIRCLE. FAUST STEPS OUT

MEPHISTOPHELES

Now get out fast! You must not rest!

THE WITCH

And may this potion do you good.

MEPHISTOPHELES (TO THE WITCH)

If I can favour any small request,
Just tell me at Walpurgis, if you would.

THE WITCH

Here is a song. If it’s sung now and then
You’ll sense a special, good effect.

MEPHISTOPHELES (TO FAUST)

Come quickly, let me lead; we won’t neglect
To make you sweat and so direct
The potion’s force inside and out again.
In time I’ll teach the prize of noble idleness,
And soon you’ll sense with deepest, inner bliss
How Cupid stirs himself and springs this way and that.

FAUST

Once more just let me glance at that reflection!
That image was so beautiful!

MEPHISTOPHELES

No! You’ll soon see that woman of perfection,
Alive before your eyes in full.

SOFTLY

And with this drink in you, there soon will be
A Helen in each girl you see.





Thursday, 17 September 2015

Mark Scrivener Poetry Blog No 85 Black-Shouldered Kite


BLACK-SHOULDERED KITE

The black-shouldered kite (Elanus axillaris) is a small raptor found in Australia.

Measuring 35–38 cm (14–15 in) in length with a wingspan of 80–95 cm (31–37 in), the adult black-shouldered kite is a small and graceful, predominantly pale grey and white, raptor with black shoulders and red eyes. Wikipedia.

This poem is set in the country looking over some pasture land or in Australian terms a paddock. Although on one level this could be regarded as a simpler nature lyric, on another it reflects an ambiguity that is found not only in nature but in other situations too. Although the lines vary in length and the approach to form is relatively free the lines still scan- the first two lines have a slower four-footed trochaic feel then they to more energetic iambic lines of various lengths. The rhymes, half rhymes and internal rhymes interact with the meaning and images rather than following a set pattern.


BLACK-SHOULDERED KITE

In the long light of a late
Summer afternoon, above
Long grasses gilded at seed-tips,
A kite of white
With rippling wings barred black,
Suspends upon the southern breeze,
Intently watching all beneath.

Now suddenly
She stoops:
She swoops,
As though she'd lost the flow of flight,
So swiftly falling, arrow-like.

The prey is caught in talons like a knife.
Such hunting skill! Such mastery!
Such feathered ease upon the breeze!
We watch, admiring, by the house.

Indeed she moves enchantingly;
As long as you
Are not the mouse...

Monday, 14 September 2015

Mark Scrivener Poetry Blog No 84 Seeing



SEEING

This is a poem about our inner experience of vision. I am not suggesting it as an alternative to the scientific and medical explanation of the physical mechanism of human sight: light entering the eye, image falling on the retina etc. However, it is known that we see not just with the eye but actually with our consciousness- The visual cortex is the largest system in the human brain and is responsible for processing the visual image. It lies at the rear of the brain (highlighted in the image), above the cerebellum. Wikipedia.

After all, in some sense, we experience vision as sharing reality with what is out there beyond our own physical body. So this poem is about vision with awareness and imagination as a sharing in the being of the world.


photo Mark Scrivener 


 
SEEING



Seeing is a touching.

To look towards blue, to glance

with eyes' intelligence

along a sun-etched cloud

is to fly

where light birds wander,

freed upon unbounded sky.



Vision is a travelling. To gaze

towards growing dusk, roving

to the rim of sight,

where earth shape meets sky space,

is to glide

across the curved earth-face,

journeying with the fall of darkness.



Perception is connection. To see our star,

reddened and descending

behind the silhouettes of trees

that shiver with the day's last breeze,

is to ride

a fragment of the spiral of all time,

companioned by this wandering world;

is to see

Earth following its sun

through illimitable

regions of reality.