Sunday, 3 June 2018

Blog no 190 Wind Callls the Leaves to Whisper and Dance





WIND CALLS THE LEAVES TO WHISPER AND DANCE



Writing poems for younger readers is a good challenge as it demands a simpler approach- that is the end result needs a certain clarity while still being evocative. There is an unfortunate tendency (possibly brought on by academic essay writing on poetry) to believe that profundity in poetry can be equated with obscurity. The short lines in this poem get their form from a stressed syllable followed by two unstressed and various variants on this- Come, leaves on the branches, And play the wind's secret, soft song. The consonants in the poem try to evoke the rustling sounds of leaves in the wind.






WIND CALLS THE LEAVES TO WHISPER AND DANCE





Come, leaves on the branches,

Come shiver and whisper,

And play the wind's secret, soft song.

Green clusters on trees,

Come flutter and bustle,

And hustle and rustle,

Sing to the songs of air's choice,

Be the wind's voice!



Come fallen, dead leaves,

Come dance the wind dance,

Stir to the wind's unseen touch.

Come fading, dry leaves,

Come twirling and swirling,

Scattering, whirling,

And dance to the wind's secret beat,

Be the wind's feet!



Tuesday, 8 May 2018

Poetry Blog 189 When I Woke


WHEN I WOKE

 

 


In the following short poem you can get a feeling for the anapestic foot. The anapestic foot, so called, in two unstressed (or "short") syllables followed by a stressed (or "long") one. A feeling for this swift "beat" can be experienced by taking two short steps followed by a long one. It can be vocalized as "ta, ta, TUM". In this poem there are four of these feet in each line ( When I woke it was late and in winter in night ). A four-footed line is called a tetrameter so this could be described as being written in anapestic tetrameters.





WHEN I WOKE


When I woke it was late and in winter in night
And in quietness and shadow I felt I was caught
In the sense of another awareness and sight
In the light of the lightless, as secret as thought.

And the dreams from the darkness still rang in my brain
And the clouds wove a blanket that hid star-born light.
And beyond the dim walls there the sound of soft rain
Was the whispering voice of the winter and night. 


 

Saturday, 17 March 2018

New Poetry Blog No 188 Narrow Roads to Inner Lands Scene 11


  Basho statue at Hiraizumi

SCENE ELEVEN FROM NARROW ROADS TO INNER LANDS 

 

Takate


In this scene Bashō mentions a visit to a famous temple and later, speaking of a renowned warrior, once more reflects on the transitory nature of fame, leading him to write a well-known haiku.



On Zuiganji temple from Wikipedia- Seiryuzan Zuigan-ji is a Rinzai Zen Buddhist temple in located in the town of Matsushima, Miyagi Prefecture, Japan. Belonging to the Myōshin-ji-branch of Rinzai Zen, it was founded in 828 during the Heian period by Jikaku Daishi.



Also from Wikipedia information on Lord Yoshitsune- Minamoto no Yoshitsune (1159 – June 15, 1189) was a military commander of the Minamoto clan of Japan in the late Heian and early Kamakura periods. During the Genpei War, he led a series of battles which toppled the Ise-Heishi branch of the Taira clan, helping his half-brother Yoritomo consolidate power. He is considered one of the greatest and the most popular warriors of his era, and one of the most famous samurai fighters in the history of Japan. Yoshitsune perished after being betrayed by the son of a trusted ally.




Zuiganji Temple


SCENE ELEVEN FROM NARROW ROADS TO INNER LANDS



Day. On the foothills of Hiraizumi, called Takadate. Enter Bashō and Sora.



BASHŌ



So many miles we've walked since we first left!

Across wide plains where long grass waves with wind,

By sides of sparkling streams and slow, brown rivers,

Through valleys, moorlands - up steep, stony mountains,

You've trod with me as firmest friend and now

Once more I'm leading you up rising ground

To clamber over scattered stones and boulders,

On narrow tracks, in Hiraizumi's foothills.



SORA



But in this region know as Takadate,

My legs are younger for such tasks; but truly

We've seen some weary walking on our ways,

And in these last few days more than our share.



(They sit upon some boulders.)



BASHŌ



Hard ground and twenty miles a day. Indeed,

Our path's been strange since we left Matsushima.

Do you recall right details of our journey?

I must make all our travel clear in thought

For wish to write about our wanderings,

And meld my many notes and all our verses,

Which are as stones picked, scattered, from our path,

To make a modest monument to life.



SORA



Let me recall- to Zuiganji temple

We went and saw its seven stately halls,

Embellished so with pure, gleam of gold.



BASHŌ



Quite true. I met the priest, the thirty-second,

Descended from the temple's first, great founder.



(Sora rises.)



SORA



We left for Hiraizumi on the twelfth,

And trailed a narrow, isolated way

Through mountain regions - paths trod only by

The single hunter or the lonely axeman.



BASHŌ



Not really knowing where we were, our way

Was lost and only by good luck at last

We finished up at port Ishinomaki.

Boats by the hundreds moored in harbour waters

And countless streaks of smoke continually

Arose from houses thronging by the shore.

So after lonely, winding tracks, I took

              Brief pleasure viewing such a busy place.

Yet none would offer hospitality.

So after asking all and everywhere,

We found a hovel and we passed the night

Uneasy in our souls.



SORA



And so, next morning,

We took the river road for two hard days.

We went by wide, grass moors and dismal marshes,

Stayed in a village overnight, and now

Have reached this place, quite famed in history.



BASHŌ



Yes, famed in history, yet half-forgotten.

For here that warrior, great-valiant

Lord Yoshitsune, was met by forced, self-death.

Three generations of the Fujiwara,

Famed family, passed by, drift of a dream.

The mountain stays the only thing unchanged.

The castle's vanished- only shrines are standing,

Their gilded pillars etched by frost and snow,

Their jewelled doors rent by the wind, because

Still-pious villagers have kept them here.

The great lives and the brave deeds of the dead

Slip swiftly into time's oblivion.

And only all-devouring grass still thrives.



(Bashō produces ink and writing slab. He writes.)



Summer grass: is this

What's left at last of deeds and

Dreams of warriors?



(Basho and Sora pause reflectively)





BASHŌ



Ah, hardest ways still wait for us: the passes

Across rough mountain range to Dewa province.

Yet if we cross and safely come back down,

With friends we'll know Obanazawa town.



(Bashō and Sora exit.)

 Yoshitsune


 Basho's Haiku

Saturday, 10 March 2018

Poetry Blog No 187 Viewing Evening





VIEWING EVENING 



 

This short piece goes from the "sharp" solidities to the fractal forms to the ethereal dusk to question the "relativities" of perception.

Its form is composed of varied meters "bound together" to some extent by rhymes and half rhymes. Taking "u" to represent unstressed syllables and "/" to represent stressed ones-



u / u / u / u /

u / u / u / u / u

u / u / u / u /

u / u / u / u / u

u / u / u / u /

u / u / u / u /



/ u / u u

/ u / u

/ u /

/ u / u

/ u /



/ u / u / u /

/ u / u / u /



u u / u / u / u

u / u / u / u

u u / u u /

u u / u u /




VIEWING EVENING



Above the sharp solidities

of dark shapes on the eastward vastness,

the box-like shops and fractal trees,

a white moon rides the rising darkness,

last shine of air, where last crows rove,

still hiding stars with rose and mauve.



Viewing evening,

turning from

fading fractions

to the sum-



how that air-sea draws my sight

into musing on life's light.



Oh, ethereal, vast ocean,

wide world of last light's weaving.

is the emptiness full,

is the full only seeming?







Wednesday, 7 February 2018

Poetry Blog No 186 Three February Haiku


THREE FEBRUARY HAIKU These three haiku were written on a short walk through
 a back suburb in a country town 
on a recent cloudy February day in Australia. 
Here February is the last summer month,
 reckoning by traditional seasons. It is a virtue 
of the haiku form that it encourages us to 
look at the everyday in new ways with awareness. 
It is not to make a dogmatic point 
but to stick with the concrete reality of
 the moment of this perception. 

Personally I feel that sticking to the five, seven,
 five syllable structure helps this attain 
a certain form. 

Writing haiku is an experience not a theory. 
 
 
THREE FEBRUARY HAIKU One Late summer clouds and Blue patches ripple on a Roadside puddle's face. 
 
 
 
 Two
Rusting train tracks in
Sudden February sun-
Such abandoned ways. 
 
 
 Three

Camphor Laurel leaves-
Softest whispers calling in
Summer-brushing breeze.