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Posts Tagged ‘poet’

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I have a little shadow that goes in and out with me,

And what can be the use of him is more than I can see.

He is very, very like me from the heels up to the head;

And I see him jump before me, when I jump into my bed.

ii

The funniest thing about him is the way he likes to grow—

Not at all like proper children, which is always very slow;

For he sometimes shoots up taller like an india-rubber ball,

And he sometimes gets so little that there’s none of him at all.

iii

He hasn’t got a notion of how children ought to play,

And can only make a fool of me in every sort of way.

He stays so close beside me, he’s a coward you can see;

I’d think shame to stick to nursie as that shadow sticks to me!

iv

One morning, very early, before the sun was up,

I rose and found the shining dew on every buttercup;

But my lazy little shadow, like an arrant sleepy-head,

Had stayed at home behind me and was fast asleep in bed.

Source: The Golden Book of Poetry (1947)

photocredit-wikipedia/pinterest/lisa abramson-writers

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Where have you been, South Wind, this May-day morning,—

With larks aloft, or skimming with the swallow,

Or with blackbirds in a green, sun-glinted thicket?

2.

Oh, I heard you like a tyrant in the valley;

Your ruffian haste shook the young, blossoming orchards;

You clapped rude hands, hallooing round the chimney,

And white your pennons streamed along the river.

3.

You have robbed the bee, South Wind, in your adventure,

Blustering with gentle flowers; but I forgave you

When you stole to me shyly with scent of hawthorn.

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How deep Is My Love?

I love you as an epistle

sealed with a kiss;

(Postage is on the house)

You ask how deep is deep:

Ask, love,

how far will you take it instead?

ii

Take till time’s end

Fly by the land’s end

And fall off the precipice

(as I have done)

Between a wink and the REM,

Between wakeful and sleep states:

iii

The letter shall survive

the ups and downs

east west north south

complicity

Of our mortality

In time’s arrow reconciled.

iv

If our love be found

past time and space

In the two bottles,-

On the shores of beach,

fused as one

For eternity- we never lost it.

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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.

Digging.

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.

benny

(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)
benny

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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.)

Poet.

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.

benny

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.

Note:*
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.,)
benny

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