Saturday, 28 November 2015

Mark Scrivener Poetry Blog No 103 Advent Calendar


ADVENT CALENDAR

Wikipedia defines an Advent calendar thus- An Advent calendar is a special calendar used to count or celebrate the days in anticipation of Christmas. Since the date of the first Sunday of Advent varies, falling between November 27 and December 3 inclusive, the Advent calendar usually begins on December 1, although many include the previous few days that are part of the season. The Advent calendar was first used by German Lutherans in the 19th and 20th centuries but is now ubiquitous among adherents of many Christian denominations.
This Advent calendar was not like the ones in supermarkets in Australia with chocolates behind the doors, but rather images that glowed if it was on a window in the day as the paper backing was thinner than the front. Of course, in Australia Christmas is in summer. This was a gift from a lady who had escaped the Nazi's with her Jewish husband. It was as little like the one in the illustration. The poem is about time, memory, meaning and vision. 

 


 

                   ADVENT CALENDAR

So many years have passed to old
from long-past time of child
where wish for free and festive weeks,
beneath the south-world sun,
came with the turn to hot December
when all the year of school was done.

As inward power,
what's past is present now
as I remember
some many-detailed parts
of such departed days.

Those times would start
with one old advent calendar,
a European gift,
upon a window's morning light,
light bright as summer sight,
its twenty-five doors shut from lying
beneath hard books, eleven months below...

its village street in moon-still snow,
its river frozen and its church
in silent prayer to star-deep sky:
a night of winter-folded world,
apart, in my imagination,
from all free summer days' creation.

And I recall a wonder at each revelation,
each door I opened with an eager sight
to find behind an image shining:
an angel winged with white,
a large-eyed owl
like wisdom's sight,
a sunken treasure in a river,
a pirate with his cutlass high
and in a barrel curled
a worm with spectacles and book.

And through the opening of each morning,
I found another pictured nook
until upon the twenty fourth
came Father Christmas sweeping through the starry sky.

And on that final day of child's delight,
upon that long-awaited dawning,
the last illumination was
nativity in summer light.

Though this is all long lost
in time's unresting turning,
and most of its once-glowing scenes
forgotten in their fullest shine,
I grow aware of time's rebirth:
how even smallest things
leave traces after vanishing,
and resurrect
in inner sense;
like silence that informs
imagination opening doors,
beyond the obvious, to other being...

the secret birth of other light,
and a sight beyond the outward seeing.

Saturday, 21 November 2015

Mark Scrivener Poetry Blog 102 Four Haiku (Four Seasons)


FOUR HAIKU (FOUR SEASONS)



"A haiku in English is a very short poem in the English language, following to a greater or lesser extent the form and style of the Japanese haiku. A typical haiku is a three-line observation about a fleeting moment involving nature...a three-line format with 17 syllables arranged in a 5–7–5 pattern or about 10 to 14 syllables, which more nearly approximates the duration of a Japanese haiku with the second line usually the longest." From Wikipedia There are other characteristics associated with the haiku such as the "jump" between the first and second image. However, I think one of the most important things is to try to make each one a workable poem (even if it is only a "moment of zen"). These are in the 5-7-5 pattern.

Butterflies by Chang Lee


one



Now a butterfly,

Flitting white through summer light,

Casts a small shadow.







two



Light-bound in spring night

Around and around the bulb

Orbits a brown moth.







three


Dark needles draped on

Cold, mauve dusk. Above, bright bow.

She-oaks and the moon.







four


Light-grey umbrella

Walking in April showers

On two small child legs.




Monday, 16 November 2015

Mark Scrivener Poetry Blog No 101 Gretchen's Room -next scene from Faust


GRETCHEN’S ROOM - At the Spinning Wheel. Next Scene from Faust

Scottish-American soprano Mary Garden (1874-1967) portrayed Goethe's character Gretchen, known as Marguerite in Charles Gounod's opera Faust. Bettmann/CORBIS


        The next scene in Faust is Margaret (Gretchen) sitting at a spinning wheel singing a song that reveals how in love she is with Heinrich (Faust). This text in German is also a famous "art" song (Lied, plural Lieder in German) by Schubert. It can be heard on YouTube - search Gretchen Am Spinnrade.
            Short-lined verse like this with rhyme is difficult to take from one language to another- for instance nimmermehr cannot be anything but nevermore (as Poe's raven would say). yet to do that her heart has to be "sore" for the rhyme, whereas it would be much better if it could be heavy (as in the German). However there is almost no room with such short lines to manoeuvre. 



Classic illustration depicting Gretchen is longing for her lover, drawn by August von Kreling in Wolfgang von Goethe's "Faust", published in Munich, 1874





 Margaret (Alone at her Spinning Wheel), 1907 Goethe, Faust, Act I ~ Frank Cadogan Cowper (1877-1958)



GRETCHEN’S ROOM

GRETCHEN (AT THE SPINNING WHEEL ALONE)

Now my calm has gone,
My heart's so sore;
I’ll never find peace now,
No, nevermore.

Where you’re not in sight
Is grave-dark night,
The whole world now
Turns bitter-sour.

And my poor head
Is such a mess.
And my poor mind
Breaks with distress.

Now my calm has gone,
My heart's so sore;
I’ll never find peace now,
No, nevermore.

I watch by window
For him alone;
And but to meet him
Leave my home.

His noble figure,
His high-born stride,
And his smiling lips,
And the power of his eyes,

His voice’s magic
Flow, the bliss
Of his hand’s touch,
And oh! His kiss!

Now my calm has gone,
My heart's so sore;
I’ll never find peace now,
No, nevermore.

My yearning heart
Would flee from here,
Till I could catch him
And hold him near,

And kiss him as
I’d wish that day,
And on his kisses
I’d pass away!

Friday, 13 November 2015

Mark Scrivener Poetry Blog No 100 Foolish Boasting


FOOLISH BOASTING



This is a short anapestic ballad based on fable from Aesop. It has alternating lines of four and three feet.

It is better by far not to brag and to boast,

You might say it’s a very good rule.

For the one who must boast is the one who is most

In great danger of looking a fool.



The anapest is often suitable for a light and slightly comic touch. Dr Seuss, for example, often used it.

An anapaest (also spelled anapæst or anapest, also called antidactylus) is a metrical foot used in formal poetry. In classical quantitative meters it consists of two short syllables followed by a long one; in accentual stress meters it consists of two unstressed syllables followed by one stressed syllable. Wikipedia.



The ballad is a poem that is typically arranged in quatrains with the rhyme scheme ABAB. Ballads are usually narrative, which means they tell a story - study.com









                    FOOLISH BOASTING



It is better by far not to brag and to boast,

You might say it’s a very good rule.

For the one who must boast is the one who is most

In great danger of looking a fool.



Once a man who was planning a friendly surprise

Looked around for a suitable light.

Then he found some wax candles of varying size

To arrange for a party at night.



So he took them and stood them outside with great care,

Out in every safe spot that he could.

And while darkness descended he lit them all there

So they’d give out soft light where they stood.



Now one candle was largest, it was highest by far.

It was wide; it was tall; it was bright.

And when it was lit it shone out like a star

That’s ablaze in the dark depths of night.



Now this candle was bright but it also was proud

For it felt it had something to show.

So it sang to the rest with a song that was loud,

“ Don’t you see my magnificent glow!”



“I’m delightful! I dazzle! See me flame; see me flower!”

The proud candle proclaimed to the rest.

But one old, half-burnt candle replied, “All your power

Is one flame, that is all, at it’s best.”



“Oh, what nonsense, old smoky!” the proud candle flared.

“I am brighter, much brighter by far!

If you checked you would find- if you did, if you dared-

I’m outshining the moon and each star!”



And now just as it boasted a sudden, brief gust,

A short rush of quick wind, went on through…

And it blew where the candles stood, scattering dust,

And it blew out the proud candle too!



Now the others just flickered but it went right out.

In a moment its glory was gone.

And the old candle laughed, “When I look all about

I just wonder how true was your song!”



“I’m inclined to believe that the moon and each star

Are a little more powerful than you.

Yes, their light shines forever, forever from far,

And each night they are raying anew!”



“ So you see, foolish friend, that to brag is bad form

For you know that no wind passing by-

No, not even the terrible rage of wild storm,

Ever blows out the lights in the sky!”






Tuesday, 10 November 2015

Mark Scrivener Poetry Blog No 99 Seascape


SEASCAPE

Lyric poetry tends to contain an element of feeling in it. However, the feeling doesn't necessarily have to be stated, rather it can be the aim of the poet to arouse that feeling in the imagination of the reader or hearer. This is often achieved by the weaving together of meaning, sound, form and image. Feelings can also be related to experience and perception, not necessarily just personal emotions or passions (although many great poems deal with them). This poem tries to evoke feelings related to gazing into the hazy light on the ocean horizon.







SEASCAPE



Deep is the blue below

the far edge of the eastward sky.

Light is the blue above

the far edge of the eastward ocean.

White is fast fall of foam in sun.

White are slow-rising clouds above.



Far out on the swell

board-riders drift;

floating, sitting on the sea.



And above them there,

white upon the wide,

transparent ocean of the air,

seagulls glide,

ride with wings upon wide wind.



And beyond

their paths of flight,

and beyond

sun-dazzled sight,

on wings of clear awareness,

do vast angels ride

the unseen ocean of the Light?