Posts Tagged ‘poet’


Between my finger and my thumb

The squat pen rests; snug as a gun.

Under my window, a clean rasping sound

When the spade sinks into gravelly ground:

My father, digging.

I look down

Till his straining rump among the flowerbeds

Bends low, comes up twenty years away

Stooping in rhythm through potato drills

Where he was digging.

The coarse boot nestled on the lug, the shaft

Against the inside knee was levered firmly.

He rooted out tall tops, buried the bright edge deep

To scatter new potatoes that we picked,

Loving their cool hardness in our hands.

By God, the old man could handle a spade.

Just like his old man.

My grandfather cut more turf in a day

Than any other man on Toner’s bog.

Once I carried him milk in a bottle

Corked sloppily with paper.

He straightened up

To drink it, then fell to right away

Nicking and slicing neatly, heaving sods

Over his shoulder, going down and down

For the good turf.


The cold smell of potato mould, the squelch and slap

Of soggy peat, the curt cuts of an edge

Through living roots awaken in my head.

But I’ve no spade to follow men like them.

Between my finger and my thumb

The squat pen rests.

I’ll dig with it.


(Note: Today is the first anniversary of his death. May he rest in peace.) 

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Victoriana-pen portraits
Dante Rossetti-(1828-1882)
Dante grew up fluent in both English and Italian. As part of a large Italian expatriate community in London he grew up among many exiles from Mazzini to organ-grinders his outlook was far from the parochial insulated circumstances of his contemporaries. He never was obsessed with money the way that Tennyson was.
In 1846 he was accepted into the Royal Academy but was there only a year before he became dissatisfied and left to study under Ford Maddox Brown. In 1848 he, William Holman Hunt, and John Everett Millais began to call themselves the Pre-Raphelite Brotherhood.This group attracted other young painters, poets, and critics.In 1849 and 50 D.G.R. exhibited his first important paintings, The Girlhood of Mary Virgin. At about the same time he met Elizabeth Eleanor Siddal, a milliner’s assistant, who became a model for many of his paintings and sketches. They were engaged in 1851 but did not marry until 1860. She helped him clarify his feminine ideal of beauty,which would change to the tall, thin, long-necked, long-haired stunners of frail health that we see in paintings like Beata Beatrix, Pandora, Proserpine, La Pia, and La Donna della Finestra. The persistence of the Pre-Raphaelite ideal shows up in photographs of William Butler Yeats’ idealized beauty, Maud Gonne. Jack Yeats, the father of the poet, was connected with the Pre-Raphaelites, and Yeats himself said of his younger days, “I was in all things Pre-Raphaelite.” In 1871 Rossetti and Morris leased Kelmscott Manor in Oxfordshire. In the late ’60s Rossetti began to suffer from headaches and weakened eyesight, and began to take chloral mixed with whiskey to cure insomnia. Chloral accentuated the depression and paranoia latent in Rossetti’s nature, and Robert Buchanan’s attack on Rossetti and Swinburne in “The Fleshly School of Poetry” (1871) changed him completely. In the summer of 1872 he suffered a mental breakdown from which he would never completely cured.
Edward Burne-Jones (1833-1898)
Dante Gabriel Rossetti, more perceptive than any of his contemporaries, was the ideal person for Edward Burne-Jones to present himself to as a young, aspiring artist. He recognized Burne-Jones’s native talent and encouraged him to build upon it without recourse to the stifling academic procedures. but by the 1860s Burne-Jones was discovering his own artistic “voice”which would be clarified by his visit to Italy (1859 and 1862). It had been an enriching experience, manifest by rich and dark coloration, tending towards the choice of iron reds and dark oranges combined with deep greens. Thus his naive view presented in his earlier drawing became more complex by the inclusion of sumptuous colour, at this time chiefly derived from study of Venetian painting.. In 1877, he was persuaded to show eight oil paintings at the Grosvenor Gallery (a new rival to the Royal Academy). These included The Beguiling of Merlin. The timing was right, and he was taken up as a herald and star of the new Aesthetic Movement.

In addition to painting and stained glass, Burne-Jones worked in a variety of crafts; including designing ceramic tiles, jewellery, tapestries, mosaics and book illustration, most famously designing woodcuts for the Kelmscott Press’s Chaucer in 1896. Beardsley would draw much of his inspiration from him.
Trivia: ‘What is my line?’
In 1860 Burne-Jones married Georgiana “Georgie” MacDonald (1840–1920), one of the MacDonald sisters. She was training to be a painter, and was the sister of Burne-Jones’s old school friend. After marriage she made her own work in woodcuts and became a close friend of George Eliot. (Another MacDonald sister married the artist Sir Edward Poynter, a further sister married the ironmaster Alfred Baldwin and was the mother of the Prime Minister Stanley Baldwin, and yet another sister was the mother of Rudyard Kipling. Kipling and Baldwin were thus Burne-Jones’s nephews by marriage).

(ack: the Victorian Web)

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This I believe: a poet’s pen must flow

Through thick and thin; but then it is hard

With a nose running,-flu got this bard ;

All I can think is King Lear,- Blow! blow! 

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CH’ü YüAN (CHINESE) (343 – 289 B.C.)


Qu Yuan


One of the greatest poets of ancient China and the earliest known by name Ch’ü Yüan’s highly original and imaginative verses exerted an enormous influence over early Chinese poetry.

An aristocrat of Ch’ü, the largest of the seven warring states into which China was devided at that time, Ch’ü Yüan was appointed to the important post of Tso-tu‘ (left counsellor) while still in his 20’s and enjoyed the complete trust and favour of the ruler Huai Wang. At court he advocated the most powerful of the warring states, causing his rival courtiers to intrigue against him. Thus was  Ch’ü Yüan  banished to the north of Yangtze River by Huai’s successor, Ching Hsiang.

In despair Ch’ü Yüan roamed about southern Ch’ü writing poetry and observing the shamanistic folk rites and legends that greatly influenced his works. He eventually drowned himself in the Mi-lo river, a tributary of the Yangtse.

The famous Dragon boat festival* held on the fifth day of the fifth month of the Chinese Lunar year originated as a search for the poet’s body.


His most enduring work ‘Li Sao’ (an encountering sorrow) in an allegorical discription of the poet’s upbringing and virtues, his frustrated loyalty to his King and unjust exile and his search for an understanding ruler. The free flowing style and fanciful content of this poem were imitated by later Chinese poets.

His works have survived in an early anthology the Ch’utz’u (elegies of Ch’ü) much of which must be attributed to later poets writing about the legendary life of Ch’ü Yüan.

Popular legend has it that villagers carried their dumplings and boats to the middle of the river and desperately tried to save the poet, but were unsuccessful. In order to keep fish and evil spirits away from his body, they beat drums and splashed the water with their paddles. They threw rice into the water as a food offering to Qu Yuan and to distract the fish away from his body. However, late one night, the spirit of Qu Yuan appeared before his friends and told them that he had died because of a river dragon. He asked his friends to wrap their rice into three-cornered silk packages to ward off the dragon. These packages became a traditional food known as zongzi, although the lumps of rice are now wrapped in reed leaves instead of silk. The act of racing to search for his body in boats gradually became the cultural tradition of dragon boat races, which are held on the anniversary of his death every year.
Today, people still eat zongzi and participate in dragon boat races to commemorate Qu Yuan’s sacrifice at the Dragon Boat Festival (Duan Wu festival), the fifth day of the fifth month of the Chinese lunar calendar.(Ack: New World ency.,)

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Pen Portraits-Robert Browning
Robert Browning (1812-1889) Largely taught at home his genius had to find a clear direction. In the 1830s switching from verse drama he settled on dramatic monologue. His real talents lay in taking a single character and allowing him to discover himself to us by revealing more of himself in his speeches and as a result in Paracelsus (1835) we see him as a poet sure of his genius. It got encouraging reviews but the difficulty and obscurity of his long poem Sordello (1840) turned the critics against him, and for many years they continued to complain of obscurity even in his shorter, more accessible lyrics. Perhaps the pitfall lay in his mode of education as self taught and range of scholarship he acquired had overshot those of his reading public. In 1845 his encounter with Elizabeth Barrett at her father’s place at Wimpole Street was remarkable. Although she was an invalid and very much under the control of a domineering father, the two married in September 1846 and a few days later eloped to Italy, where they lived until her death in 1861. The years in Florence were among the happiest for both of them. Her love for him was demonstrated in the Sonnets from the Portugese, and to her he dedicated Men and Women, which contains his best poetry. Public sympathy for him after her death (she was a much more popular poet during their lifetimes) surely helped the critical reception of his Collected Poems (1862) and Dramatis Personae (1863). The Ring and the Book (1868-9). In his day he was ranked with Tennyson as the foremost poet.
Although he lived and wrote actively for another twenty years, the late ’60s were the peak of his career. His influence continued to grow, however, and finally lead to the founding of the Browning Society in 1881. He died in 1889, on the same day that his final volume of verse, Asolando, was published. He is buried in Poet’s Corner of Westminster Abbey.(ack:www.victorianweb.org)

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Pen Portraits-Peter II

PeterII (1813-.1851)

At the time of his birth, Montenegro did not exist as a state as it was recognised as a part of the Ottoman Empire, its borders were undefined, the de jure ruler was a Venetian Governor, cattle rustling was widespread and Montenegrin tribes and families were dissipating their strength in ancient blood feuds (Serbian: krvna osveta or krvna osvjeta). Njegoš spent his early years in Njeguši, where he passed his days as most of his contemporaries: tending his father’s flock of sheep, playing the gusle and attending local family and church celebrations where stories of past battles and suffering were told.
As the son of Tomo Petrović and Ivana Proroković Petrović, he was born into the House of Petrović-Njegoš, whose members had been the Prince Bishops of Montenegro for over a century.
In 1833, Njegoš travelled to St. Petersburg to be ordained as the Prince-Bishop of Montenegro.
As a Bishop, Njegoš was preoccupied by secular matters, and for that he was criticized by some of his contemporaries who argued that he was spending too much time writing poetry instead of officiating at religious services. He was also often accused of preferring the Montenegrin national costume to the Bishop’s robes, and of spending more time deliberating the problems of the state rather than those of the Church.
As a ruler, Njegoš attempted to undermine the tribal structure of authority in the state and create the basics of a modern, centralized state by introducing the rudiments of an educational and communicational infrastructure. He eliminated the office of the civil governor. In addition to establishing a central authority and attempting to create Montenegrin infrastructure, Njegoš introduced a new tax policy in 1833 and acted promptly and ruthlessly in dealing with Montenegrin tribes who attempted to evade paying taxes. Njegoš also contributed greatly to the revival of Serbdom in Montenegro as, during his reign, Montenegrins were persuaded to stop wearing their Turkish fezzes in favour of a traditional Montenegrin cap and an Obilić Medal of Valour was insituted and became the country’s highest military decoration in a move to reinforce the Montenegrin nation’s bond with Serbs in Serbia and in other lands.
Despite his political achievements, Njegoš is, arguably, best remembered for his poetic and literary output. He began writing poetry at the age of 16, and in his life he wrote numerous works of epic poetry, including The Voice of Mountaineers (1833), The Cure for the Turkish Fury (1834), The Serbian Mirror (1835), The Ray of the Microcosm (1845), The False Tsar Stephen the Little (1851) and, perhaps most famously, The Mountain Wreath (published in 1847)
As a ruler and reformer, his greatest achievement was persuading the feuding clan chiefs of Montenegro to introduce fair taxation, as well as a codified set of laws based upon common rights, into their primitive mountain communities. He held the position of Prince-Bishop until his death of tuberculosis at the age of 37 in 1851.
(ack: wikipedia)


When a 19th century Turkish commander asked how far it was to Cetinje, the stronghold of the Black Mountains, then the capital, a Montenegrin replied,”It depends, a friend can get therein six hours; a foe,- may be never”.

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