Poetry Blog No 201 Autumn Town Three

AUTUMN TOWN THREE

These haiku and the cheap phone photos (like snapshots) come from a rainy autumn April day in Lismore, New South Wales in Australia (hence April is an autumn month in the southern hemisphere).

In poetry form tends to be apparent in a more obvious way than in prose. Where there is form mathematical aspects can be found. For instance, the traditional haiku is a syllabic form of three lines. The first line has five syllables, the second seven and the last five. These are the third and fourth prime numbers ( 2, 3, 5, 7, 11, 13, 17, 19, 23 etc ). They are the smallest practical prime numbers for the little poem that, being prime cannot be broken up into equal parts, apart from themselves and one. For instance, 8 is not prime and can be two groups of four or four of two.

Hence this helps prevent a sort of micro-symmetry occurring in these short lines. The total number of syllables , namely seventeen, is also a prime number.

AUTUMN TOWN THREE

One

On April-grey sky

Jacaranda leaves soft-dance

To an unseen breeze.

Two

After dry summer

Later rain has painted field

Green under sky-grey.

Three

By concrete pathway

Are past summer days- brown, dead

Leaves on rain-green grass.

Four

Thin rain on autumn

Town. Above grey streets through grey

Cloud sun blazes white.

Five

Under shops, under

Lights, cars- and beyond light of

Autumn afternoon.

Poetry Blog No 200 The Dog and the Wolf

THE DOG AND THE WOLF

Though less common these days narrative was a large part of poetry in the past. From Homer to the 19th century epic storytelling in verse was common. Ballads and other poems told shorter stories. Stories benefited from the rhythmic, sound, and imagery strength that verse can create.

The fable that this poem is based on is probably older than Aesop.

That the fable dates from before Aesop's time is suggested by a single line surviving from a poem by Archilochos in which the question is asked 'what has caused the scruff of his neck to become so worn'. It is conjectured that this refers to some early version of the fable, which is well attested in later Greek sources, including the collection of Babrius, as well as in the Latin collection of Phaedrus. The fable was also well known in the Middle Ages, was included in William Caxton's collection, and was made the subject of a Neo-Latin poem by Hieronymus Osius. from Wikipedia. 

THE DOG AND THE WOLF

Through all the forest there was not a breeze.

The bright rays of the moon's light whitened leaves.

A wolf was on the prowl in its clear light,

Out hunting: he was ravenous that night.

The poor beast was so hungry and so thin,

His ribs were almost sticking through his skin.

Now as he slunk along he chanced to meet

A tame dog, looking plump, well-fed and sleek.

"Good evening to you, good cousin hound,"

The wolf growled softly, with a jealous sound,

"How goes the world with you?"

                                             "Fine, fine,"

The dog said, "How are you, good friend of mine?

You look a little lean and starved."

"Alas, good cousin dog, the hunting's hard,

And I can scarcely scrape enough together."

"Dear me, my cousin wolf, from what I gather,

You live your life in great uncertainty,

Why don't you get a steady job like me?"

The wolf paused, scratched his head a bit, and thought,

"Yes, yes, dear dog. I guess you're right. I ought

To get a job. But where shall I find one?"

"There's nothing easier," barked the dog, "just come.

My master's home, he'd find you work all right,

And all you have to do to earn your bite

Is growl, to scare off any thieves at night."

"Yes, living in the woods or on the plain,

And often whipped by wind or soaked by rain,

I never know where I'll get my next meal,"

The wolf replied, "Yes, yes, you have a deal.

For what have I to lose now anyway?

I'd get warm shelter there and food each day."

"Well, follow me, my friend," replied the pet.

"I do not think I'll follow you just yet.

For first I want to know," the wolf growled back,

"What's that large mark upon your furry neck?"

"That's nothing," said the dog with some surprise,

"My collar's tight, I need a bigger size."

The wolf asked softly, "Collar? Could you explain?"

"Yes," answered the dog, "the collar that holds my chain."

"Your chain? You mean that you're tied up at home?

You mean to say you're not left free to roam

Wherever you wish; free like the roving wind?"

With gentle growls the wolf now questioned him.

"Er, not exactly free all of the time,"

The dog explained this with a trace of shame,

"In fact, my friend, my master feels that I'm

A little fierce, quick-tempered- so in the day,

If it should be that he must go away,

He chains me up to make sure that I stay.

But when the stars appear he leaves me free

To go wherever I wish to go, you see.

Thus during hours of day I rest a bit

And catch up on my sleep, so I am fit

To watch at night and stay quite wide awake.

I am much loved. My master lets me take
The odd scrap from the table- life's free from worry.
Good wolf, why are you going? What's your hurry?"

"Good night to you, poor dog," the wolf replied,

"You're welcome to you luxury in chains!

For I must say, to be but frank and plain,

That I prefer my freedom to your fat!"

And finishing their little chat with that,

The wolf turned tail and quickly trotted back,

Unchained, untamed, into the friendly darkness,

Into the free depths of the forest's vastness.

Poetry Blog No 199 Sonnet- Valentine Rose

         

            SONNET- VALENTINE ROSE

The so-called "Shakespearian" sonnet tends to have a certain progression of ideas- the first four lines present a subject, the next four elaborate it, the next four start to come to a conclusion and the last two (rhyming couplet) sum it up - or sometimes reverse it. However, this "argument" (thesis, development, penultimate conclusion, conclusion) is not the whole story for it needs to be conducted via imagery and sound combinations rather than merely abstract thoughts and so appeal to imagination and feeling as well as thought. Often the imagery will revolve around a central image- in this case the Valentine rose. 

           SONNET- VALENTINE ROSE

I'd wish that I could bring before your eyes

The finest blossom of the flower of light-

As fair as Venus, splendid in those skies

That pass from dusk's last lilac to deep night.

I'd wish that I could bring before your ears

Most moving blossoming of great-toned song

That, singing shining melody, appears

To weave with words both deep and fire-strong.

Though all my gifts are lines and one poor rose

It bears brave red as signal of the heart,

And though I write but this poor rhyme, it shows

Much struggle seeking words to speak soul's part.

  And if my gift be not of light-sung hue,

  Yet still I wish to speak of love for you.

Poetry Blog 198 Icarus

 Fall of Icarus Blondel Decoration Louvre

ICARUS

Redon Fall of Icarus

In Greek myth Icarus was the son of Daedalus who created the labyrinth that housed the Minotaur. However, for advising Ariadne to give Theseus the thread that helped him escape the Labyrinth, after killing the Minotaur, Daedalus and his son were imprisoned in a tall tower. Being, it seems, the MacGyver of his day, Daedalus built wings from the feathers birds dropped when coming to be fed bread and the wax of a beehive in the tower. Then he and Icarus flew from the prison over the sea. Icarus, however, overstepped the boundaries, despite his father’s warnings thus committing the sin of hubris or trying to be a “god.” In the poem the verses (except the last one) and  are Daedalus to Icarus.
Originally conceived as a song lyric you can hear a You Tube video version of the song at the bottom of the blog. 

The Lament of Icarus Herbert Draper

ICARUS

So flee the fretful hour,

Escape the prison tower;

Take to the sky's free power.

Don't rise up ever higher,

Don't soar to kingdom come;

Don't fly too near the fire,

Don't sail too near the sun;

Icarus, Icarus-

We cross the lashing sea,

We ride the winds so free,

Escaping joyfully.

Don't push beyond your part,

Don't force your rising flight;

Don't seek the sun's bright heart,

Don't reach beyond your right;

Icarus, Icarus -

The sun is warm on wings,

On wings of wax and strings;

Pay heed unto these things,

Don't try to touch the sun,

Don't go beyond your need;

Don't tease the shining one,

Don't grasp with boundless greed;

Icarus, Icarus-

Drunk on the fresh, free air,

All filled with joy he'd dare

To taunt the sun up there.

Don't press beyond your power,

Don't try to steal the light;

You can't pick heaven's flower,

You can't have endless sight;

Icarus, Icarus-

The wings melt in the glow,

And down and down he goes,

Drowns in the sea below.

Don't puff up with false pride,

Don't boast you are the best;

Don't take greed as your guide,

Don't put it to the test;

Icarus, Icarus-

So heed the story's call,

You just can't have it all,

Or else you're bound to fall.

Don't rise up ever higher,

Don't soar to kingdom come;

Don't fly too near the fire,

Don't sail too near the sun. 

Peter Bruegel Landscape with the Fall of Icarus This painting in which Icarus is but a detail just below the ship was he subject of a famous poem by Auden https://genius.com/W-h-auden-musee-des-beaux-arts-annotated

 

Poetry Blog No 197 Narrow Roads to Inner Lands Scene 12

SCENE TWELVE FROM NARROW ROADS TO INNER LANDS

In this scene an adventurous episode is given to us through the medium of narration. Fundamentally the travel dairy is a form of narration but the narration has symbolic and artistic overtones. In turning it into a play I am aware of the "lack" of direct action, however, I feel this makes a contemplative contrast to the endless "action" of most dramatic entertainment. 

 

SCENE TWELVE

A room in Seifū's house in Obanazawa. Night. As a pale light comes up, we find Bashō, Seifū and Sora seated on cushions on the floor, their faces illumined by a lamp on the floor. To one side there is a large, black silk screen.

SEIFŪ

Now sirs, may I ask humbly how you managed

With those most high and hard-tracked mountain passes

That mass upon our Dewa province borders?

I know of something of the wanderer's

Rough hardships and harsh struggle to go on,

For I have often faced long journeying

To reach the capital for business matters.

SORA

Great thanks for your inquiry, good sir.

To start we were delayed by some suspicions-

Gatekeepers on the pass put doubts that such

Attempting of hard roads was wise of us.

And thus the dark of night hours overtook

Our struggling steps while on steep mountainside.

BASHŌ

Still fortune found us shelter - there we chanced

Upon the house of one good gatekeeper, such

A comfort truly in that lonely spot.

Wild storm descended on us, holding us,

Delayed, in his rough dwelling, for three days.

SEIFŪ

Such useful shelter was a gift of time.

(As Bashō speaks, three silhouettes are seen on the screen- one large with sword and stick, the other two representing Bashō and Sora. They mime the progress of the walk note-this could also be a filmed projection)

BASHŌ

The mountains grown so mantled with thick growth,

The air beneath that foliage so hushed,

Made us just feel as though groped through night.

Not one bird's cry was heard. The wind above

Seemed breathing blackness from each rift in dark,

Oppressive cloud. We pushed on through a path

Of miles of snatching bamboo undergrowth

And stumbled over unseen rocks and stones.

At last we reached the small, safe village of

Mogami, after shedding much cold sweat.

Our guide was pleased by our safe passage, for

A range of accidents had ever added

More forms of hazard on past trips. Relieved,

And from a deepest honesty I thanked him

And so we parted. Yet a phantom fear

Still lingered in my mind for some time after.

(By this time the light behind the screen has faded and the room light has returned to normal.)

SEIFŪ

Well, after such a challenging ordeal,

I must insist you stay a few days here

To gather bone-good strength for future journeys.

BASHŌ

That is most fine and generous of you.

I’m sure we'd benefit from some days’ rest.

So I shall not refuse your kind request.

(Seifū picks up the lamp and they all exit.)

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