Tag Archives: Poetry

A River Runs Through It and the Stories They Tell

“Eventually, all things merge into one, and a river runs through it,” writes Norman Maclean in A River Runs through it and Other Stories. “The river was cut by the world’s great flood and runs over rocks from the basement of time. On some of the rocks are timeless raindrops. Under the rocks are the words, and some of the words are theirs. I am haunted by waters.”

I like taking walks in the city I live, and I also like taking photos of the river that runs near my house. The river is an interesting place to watch, because of the birds and the other animals, but there is also a lot going on there depending on the time of year. A lot of boats in the summer. Shanties in the winter. Leaves on the breaks in the fall.

There are stories there.

The Waters and Their Stories

Whether the waters are haunting or not doesn’t matter too much to me, because there lots of other stories to tell. Most of them don’t involve the early death of one’s sibling or the fear of drowning when rafting the rough currents. Similarly, the stories get me thinking and that’s a good way to spend an evening or a morning. It’s especially true if you are trying to make sense of one that’s tricky.  

In Robert Louis Stevenson’s poem “Looking-Glass River” he states: “Smooth it glides upon its travel / Here a wimple, there a gleam– / O the clean gravel! / O the smooth stream!”

What this means is, I can’t speak for the clean gravel in my neck of the woods, but I believe I’ve seen a wimple and gleam here and there as I follow the shore on either side. Often, I’m silently confronted by early risers out for their morning strolls or nightwalkers seeking the evening calm.

“I do not know much about gods; but I think that the river / Is a strong brown god—sullen, untamed and intractable,” wrote T.S. Eliot in The Four Quartets. “The river is within us, the sea is all about us; / The sea is the land’s edge also, the granite / Into which it reaches, the beaches where it tosses.”

Spirituality and the Waters

The divinity placed upon water itself is apparent in much religious writing. It is a cathartic and purifying method of being born anew. Water has been of critical importance to both maritime law and commerce for ages, importing and exporting food and famine, war and peace. It has also been a source of wonder and musings about existence.

In “The River,” Ralph Waldo Emerson penned:

And I behold once more

My old familiar haunts; here the blue river,

The same blue wonder that my infant eye

Admired, sage doubting whence the traveller came,—

Whence brought his sunny bubbles ere he washed

The fragrant flag-roots in my father’s fields,

And where thereafter in the world he went.”

The words Emerson chooses, including “Admired” and “sage” dignify the waters in a way that create a spiritual understanding. Additionally, blue wonder and blue river speak to the calming feeling that water imparts to humanity. According to Emerson, the waters are something to truly behold.

Conclusion

Mostly, we don’t know where the river’s been or where it goes, because we can look at it and think about the images it conjures in our animal brains; but, mostly, walking by the water gives me piece of mind. Yet, there are many things to see and there are many things to think about.

I am about both sometimes.

Analysis of “America” by Claude McKay: Strength and Struggle

In interpreting Americanness through the eyes of poet Claude McKay, we see his experiences manifested in the forms of the Harlem Renaissance and the reality of racism. The latter was/is a pervasive, violent thorn in side of Black Americans. In this post, we will analyze “America” by Claude McKay through a brief analysis. This poem offers insight into the dual lives of people of color in the United States and a hope for a brighter future.

“America” by Claude McKay Analysis

Inspiration

McKay’s poem was published in 1921, and comes from a variety of inspirations. For example, McKay was a Jamaican immigrant who came to the US in 1912. He wrote through heated times in American history, including the Red Summer and the Red Scare. Consequently, seeing this racism first hand influenced McKay political ideology and predilection for racial themes in verse. McKay was also a bisexual leftist, and felt marginalized throughout his life.

Interpretation

The poem “America” comes naturally from a sore spot in McKay’s soul. It discusses oppression and a rebel lifestyle that stands in contrast to the average, white American experience. McKay writes, “Although she feeds me bread of bitterness, / And sinks into my throat her tiger’s tooth, / Stealing my breath of life, I will confess / I love this cultured hell that tests my youth.” McKay tells us that it is bitter to live in a land he loves that challenges him in all aspects of his life.

America, according to McKay, is “vigor” that “flows like tides into” his blood. The country gives him life and “strength erect against her hate.” What kills him inside also feeds him completely. “Yet, as a rebel fronts a king in state, / I stand within her walls with not a shred / Of terror, malice, not a word of jeer. / Darkly I gaze into the days ahead, And see her might and granite wonders there.”

McKay espouses the hope that hate and violence will end one day because America is capable of that change. He can see it in the darkest spots. One day, it will not reflect the worst outcomes, he believes, but it will shed light upon the greatness that lies in shadow. As McKay writes: “Like priceless treasures sinking in the sand.”

Even so, McKay places a empathetic touch on America’s spirit. Donna Denize and Lousia Newlin write in their article “The Sonnet Tradition of Claude McKay” that McKay “feminizes” North America. Through this poem, and others, he perhaps creates a loving, yet tumultuous, relationship between the speaker and the country.

The authors state: “One can’t help but notice how images keep shifting, as by the means of the sonnet form, the speaker negotiates the tension between conflicting emotions—passions invoked by the great promise of equality and innovation, patent traits of the American Dream” (Denize). Moreover, McKay dreams in this poem that America is capable of moving away from its violent past and inclination toward oppression. The goodness is there, yet it needs to show its face.

Read the full poem here.

Works Cited

Denizé, Donna E. M., and Louisa Newlin. “The Sonnet Tradition and Claude McKay.” The English Journal, vol. 99, no. 1, 2009, pp. 99–105. JSTOR, http://www.jstor.org/stable/40503338. Accessed 1 July 2021.

McKay, Claude. “America by Claude McKay | Poetry Foundation.” Poetry Foundation, 1 July 2021, poetryfoundation.org/poems/44691/america-56d223e1ac025.

Analyzing “The Lake Isle of Innisfree” by W. B. Yeats

W.B. Yeats was an immensely popular poet in his time, and for good reason. His poems resonate with readers for their beauty and themes. In fact, his poem, “When You Are Old,” very simply identifies aging in a creative way. These themes include universal ideas of nature, solitude, and peace. In this post, we examine his poem “The Lake Isle of Innisfree,” which discusses these ideas. While one of his most popular, the poem is eternal in its meaning.

Format Structure of Innisfree

The poem has three quatrains, and it is written in iambic tetrameter. It also has an ABAB rhyme scheme. There is simplicity to its form, but this is intentional. Additionally, it uses repetition to repeat the important ideas of determination to escape from the confines of their life. There is peace in this simple verse.

Themes of Innisfree

The themes in the poem include those of solitude, nature’s healing, and imagination. To begin, the solitude of this poem is found in the speaker’s disdain for “pavements gray,” and his want of a “small cabin” that consists “of clay and wattles.”

Likewise, there is an emphasis on the healing power of nature. Yeats writes, “Nine bean rows will I have there, a hive for the honey bee, / An live alone in the bee-loud glade.” Yeats’s yearning for such agrarian existence shows his interest in the natural world. In addition, the themes of imagination come through in Yeats’s want of this faraway, natural world. Imagination, in this way, takes Yeats to a land of carefree calm.

Conclusion

Yeats’s poem “The Lake Isle of Innisfree” speaks to the authors need to escape the world as we know it. In pining for nature, he imagines himself in a land of peace. The structure of this poem speaks to this simplicity. As in one’s desires and love of imagined worlds, Yeats simplistic poem gives way to complex understandings. Leaving the concrete jungle of urban life for rural serenity is a dream of many.

“what love isn’t” by Yrsa Daley-Ward Analysis

In this post, we are going to analyze by my own estimation, maybe the most important poem about love ever written. Yrsa Daley-Ward’s “what love isn’t.” It perfectly encapsulates the dichotomy and contrast of what love really is and not what the poets often say. Which, as it stands, is something akin to Heavenly purgatory. Humans have no choice but to think of their relationships, as they are beset by their communal needs in life. One such communal need is love, which is as ephemeral and transient as any abstract noun.

Analysis

The Reality of Love

Yrsa Daley-Ward, in her poem “What Love Isn’t,” states that love is not exactly what we learned about in the picture books. “It is not a five-star stay,” she writes. “It is not / compliments, and it is never ever / flattery.” That is to say, love isn’t a fairy tale, and there isn’t a princess to come out of the woodwork to steal your heart, or a prince to put on the glass slipper. Love defies such simple notions. It is beyond petty pleasantries.

What is more, love is a difficult thing to carry with you, even though it has many upsides. “It is solid,” Daley-Ward writes. “Not sweet but always / nutritious / Always herb / always salt / Sometimes / grit.” There is something hearty there for us to consume in love. Something to make us whole again and to make us feel something in our guts. Sometimes, we think of this as butterflies in our stomach, but that undercuts the wholesome, healing properties of love.

Love as Healing

Love can heal us in ways that we don’t understand, according to “what love isn’t.” In times of turmoil and strife, those we love stand with us and see us through. If you have ever been unemployed, depressed, morose, or apathetic, then you know what power a hand grabbing yours at the right moment can have, the same as a hug when you least expect it.

Daley-Ward continues: “It is now and till the end. It is never a slither, never a little / is a full serving / it is much.” How much? Well, I suppose that comes down to the partnership, but much is the difference between trying and not trying, loving and not loving. Communication is often difficult and tiresome. Though we can often overlook these things because our spouses are our backbone and supporters, people who cheer us on when nobody else has the time. That type of dedication matters. In this way, love becomes much. It transcends little acts of service and touch. It is a way of life, a dedication.

The Strongest Emotion

Even so, love gets heavy, and that can sound cliché, but love is the strongest emotion. You can’t always explain why you feel the way you feel about somebody because love internalizes itself in your soul—in your very being from your feet up toward your head. Daley-Ward states that “it is weight and it is weight and it is too heavy to feel / good sometimes… / It is / not what the films say… / it is difficult and always, always / surprising.”

Love is never what you think, but that doesn’t mean it’s not worth having in your heart.

Works Cited

Daley-Ward, Yrsa. “What Love Isn’t.” CommonLit, 2014. Web. commonlit.org/texts/what-love-isn-t. Accessed 12 Nov. 2021.

An Analysis of “The Moon” by Robert Louis Stevenson

On nights when we have clear skies, no matter where you are, we happy faces look to the stars–and the moon. Robert Louis Stevenson, author of Treasure Island (1883) and the Strange Case of Dr. Jekyll and Mr. Hyde (1886), wrote “The Moon” to speak to the foreboding nature of the moon, and the calmness that it can bring. Poetry lives in contrast, and the moon conveys this notion expertly.

Analysis of “The Moon”

In his poem “The Moon” that the moon “has a face like the clock in the hall / She shines on thieves on the garden wall.” Of course, thieves are a violent intrusion into our lives and their juxtaposition to the a thing of beauty–a garden wall–is like that of a beautiful full moon and the violence of dismemberment by a monster of the night.

Horror movies featuring werewolves always feature the moon high overhead, and the expectation that Lon Chaney Jr. is down below looking up in horror is expected, but the looming eye of that wondrous spectral bulb exists to tell us that the moon is there watching and waiting, so stand guard!

“The squalling cat and the squeaking mouse, / The howling dog by the door of the house,” Stevenson tells us of the moon and its watchers, and “The bat that lies in bed at noon / All love to be out by the light of the moon.” Here Stevenson says that the bat sleeps in the day to engage in its love (of flight perhaps) when the moon is full and high in the sky.

And while the portentous nature of a full moon enlightens us to the werewolves among us, it also represents a peaceful time of recharging and solace. Kindly, Stevenson further states, that “But all of the things that belong to the day / Cuddle to sleep to be out of her way; And flowers and children close their eyes / Till up in the morning the sun shall arise.” The image of a sleeping child is a descriptive one as cherubs cuddled up in blankets and flowers falling to their gardens and soil until the light comes back can only be best described as childlike wonder and peace.

“The Moon” by Robert Louis Stevenson

The moon has a face like the clock in the hall;
She shines on thieves on the garden wall,
On streets and fields and harbour quays,
And birdies asleep in the forks of the trees.

The squalling cat and the squeaking mouse,
The howling dog by the door of the house,
The bat that lies in bed at noon,
All love to be out by the light of the moon.

But all of the things that belong to the day
Cuddle to sleep to be out of her way;
And flowers and children close their eyes
Till up in the morning the sun shall arise.

Works Cited

Stevenson, Robert Louis. “The Moon.” Public Domain. Web.

“On Turning Ten” by Billy Collins

Billy Collins’ poem “On Turning Ten” is a fun poetry that explores all of the resonate qualities of a poem. It is philosophical about youth and discusses the relevancy of thinking about life from evolving eyes. Collins also nails the feeling of being a kid and what matters, especially during childhood. Technology was different when I was younger, not for better or worse, so I really identify with his thoughts on looking at the changing colors of his bike or playing fantastical pretend. This poem also briefly discusses the condescension that older people often pass onto younger people—a carpe diem mentality that only appears when trying to pass wisdom. But this sort of wisdom never really sheds any light on the pain we feel when falling upon “the sidewalks of life.”

“On Turning Ten” by Billy Collins

The whole idea of it makes me feel
like I’m coming down with something,
something worse than any stomach ache
or the headaches I get from reading in bad light–
a kind of measles of the spirit,
a mumps of the psyche,
a disfiguring chicken pox of the soul.

You tell me it is too early to be looking back,
but that is because you have forgotten
the perfect simplicity of being one
and the beautiful complexity introduced by two.
But I can lie on my bed and remember every digit.
At four I was an Arabian wizard.
I could make myself invisible
by drinking a glass of milk a certain way.
At seven I was a soldier, at nine a prince.

But now I am mostly at the window
watching the late afternoon light.
Back then it never fell so solemnly
against the side of my tree house,
and my bicycle never leaned against the garage
as it does today,
all the dark blue speed drained out of it._

This is the beginning of sadness, I say to myself,
as I walk through the universe in my sneakers.
It is time to say good-bye to my imaginary friends,
time to turn the first big number._

It seems only yesterday I used to believe
there was nothing under my skin but light.
If you cut me I could shine.
But now when I fall upon the sidewalks of life,
I skin my knees. I bleed.

“Evening” by H. D.

Hilda Doolittle, also known as H.D., was a writer and poet active between 1911-1961. Known for her modernist writing, she contributed a great deal of thoughtful and artistic writings in her time. Her writings include the poem “Evening,” which I have presented below. You can find more information about her here.

In her poem, “Evening,” H.D. creates an image of flower and falling shadow to symbolize uncontrollable elements. H.D. had a great sense of the metaphysical and the symbolic, as in her poem “Oread.” Here, she continues that trend by offering us a beautiful metaphor in evening passing over flowers.

“Evening” by H. D.

The light passes
from ridge to ridge,
from flower to flower—
the hepaticas, wide-spread
under the light
grow faint—
the petals reach inward,
the blue tips bend
toward the bluer heart
and the flowers are lost.

The cornel-buds are still white,
but shadows dart
from the cornel-roots—
black creeps from root to root,
each leaf
cuts another leaf on the grass,
shadow seeks shadow,
then both leaf
and leaf-shadow are lost.

Analysis

In my own interpretation, H.D. discusses the dynamics of shadow and beauty. Metaphorically, the poem speaks to the way nature moves on ceaselessly even in the face of loveliness. H.D. states: “the blue tips bend / toward the bluer heart / and the flowers are lost.” These lines indicate that the delicate flower–beautiful in its construction–relents in the face of darkness. The reader can see this as a reflection of life. Shadow comes for us all.

In the second stanza, H.D. writes that while this beauty remains, the “shadows dart” over the flower, from root to leaf. More specifically, these lines from the poem highlight a somber tone. The shadow is all consuming. She writes that “shadow seeks shadow, / then both leaf / and leaf-shadow are lost.” Together, darkness overtakes the beauty of the flower and it is gone.

In many ways, readers can read “Evening” as a metaphor for the human experience. While it begins in light and beauty, the end is shadow. Humans are startled by the mystery of shadows and darkness. Furthermore, the beauty of the flower, the colors, the tone, suggests that there is a great reverence in life. Yet, when the shadow moves over all living things, from root to leaf, the end is nigh and unavoidable.

Accepting Aging with Poems by Maya Angelou and Shel Silverstein

It’s true about simmering down as you get older. Those wild nights of imbibing in life’s pleasures until the wee hours of the morning are mostly over. Sometimes a wild one pops up on you and you spend days recovering. Aging has a way of negatively impacting our hobbies and interests. In this post, we are going to analyze how writers May Angelou and Shel Silverstein contend with aging.


Maya Angelou on Aging

Maya Angelou writes in “On Aging” that the warranted sparks that once signaled life. These include things like small talk, which are no longer necessary. “When you see me sitting quietly / Like a sack left on the shelf, / Don’t think I need your chattering. / I’m listening to myself.” As you get older, it seems to be overall preference to prefer a solitary life. Likewise, as time marches on, one grows more appreciation for sitting in a corner by themselves. This is opposed to getting too social.

Moreover Angelou, shares the fear of being forgotten, ignored, or treated differently. It’s something to think about as your loafers come out more and your wrinkles deepen. “When my bones are stiff and aching, / and my feet won’t climb the stair, / I will only ask one favor: / Don’t bring me no rocking chair.” I think this is a good opinion on becoming physically obsolete. It’s okay to sit by yourself in a corner as long as your loved ones understand that’s just what you prefer in life…and not because you are difficult to be around.

Angelou continues, “I’m the same person I was back then, / A little less hair, / a little less chin,” which I suppose means we should revere older people as they were once young too. However, it helps to think that we are different people from who were were. Especially when we think about our late teens and early 20s. And this is as long as we do not harbor grudges against our former selves. It is quite refreshing to remember that we are still alive. Angelou tells us at the climax of her poem: “A lot less lungs and much less wind. / But ain’t I luck I can still breathe in.”


Shel Silverstein on Aging

Aging forces us to consider our youth, which is probably the most cliched reflection in existence. Yet, when we also think about our formative years, it also makes us think of the stories and poems we read as a child. Moreso the stories that grounded us. A Light in the Attic by Shel Silverstein taught us all about verse and poetry, as did Where the Sidewalk Ends.

In A Light in the Attic, Silverstein writes in one of his poems: “Said the little boy, I often cry / The old man nodded. So do I.” This is strangely relevant, as when we get older, tears seem to fall more freely. Our emotions become more real, and we become more intoned with ourselves. We no longer find the necessity to keep up the walls upon reflection.

Silverstein continues: “But worst of all, said the boy, / it seems grown-ups don’t pay attention to me. / And he felt the warmth of a wrinkled old hand. / I know what you mean, said the little old man.” Sometimes we can remember too much, and that’s okay. As we get older, we tend to listen to our inner monologues with more acuteness than anything. Maybe we feel as though we are being ignored, and maybe we feel as though we are no longer important. After all, at some point, our lives have run their course, and we feel like a burden. Aging in this way can make us feel impotent against life’s onslaught. But it’s always important to remember that everybody feels this way–both young and old.

Through verse, Maya Angelou and Shel Silverstein create pathways to see this reality.


Conclusion

As we get older, the reflection process becomes more severe, so we spend more time thinking back on the “glory days” of our lives. Maya Angelou and Shel Silverstein can teach us about this effect. Considering this, we have to be thankful that we are alive, and that if we seem a burden, it’s not that big of a deal, and that we change in our lives and reflect on prior mistakes. With that said, this reflection also allows us to take a prolonged look at what has inhibited us from reaching our peaks. If we correct these particular deficits, then it is probably safe to say that we like ourselves more in our later years than in our younger years. Aging, in this way, makes us more human.

Works Cited

Angelou, Maya. “On Aging.” And Still I Rise. Random House. 1978. Print

Silverstein, Shel. “The Little Boy and the Old Man.” A Light in the Attic. Harper & Row. 1981. Print.

Emily Dickinson’s “One Need Not be a Chamber — to be Haunted”: Analysis

What does a haunting mean? Is it a specter in your home who will not leave you alone? Is it something more personal? Perhaps it is your thoughts and feelings haunting you. In Dickinson’s “One Need Not be a Chamber — to be Haunted” by prolific poet Emily Dickinson, the author has a full grasp of what it means to be haunted.

In this post, we will summarize and analyze Dickinson’s dark, spooky poem.

Summary and Analysis

The poem begins with Dickinson informing us of what a haunting means. “One need not be a chamber to be haunted, / One need not be a house; / The brain has corridors surpassing / Material place.” In other words, it is our mind that is the haunted place. The place where ghosts roam.

In fact, she tells us, these cliche haunted places are more preferable than one’s own mind. For example, she writes: “Far safer, of a midnight meeting / External ghost, / … Far safer through an Abbey gallop, / The stones achase, / Than, moonless, one’s own self encounter / In lonesome place.” That is to say, one’s own mind is far scarier than any haunted meeting or Abbey.

Next, Dickinson tells us that our own thoughts would startle most people. In this way, our thoughts acts as “Assassin, hid in our apartment, / Be horror’s least.” Likewise, we should be more concerned with “a superior spectre / More near.”

Conclusion

Real hauntings are defined in Dickinson’s “One Need Not be a Chamber — to be Haunted.” According to her, it is not the house on haunted hill. It is our own minds. Her focus on the inward psychology of ourselves is interesting. Of course, why be afraid of what is out there, when what is inside of us is far spookier?

Works Cited

Dickinson, Emily. “Ghosts.”

“Robin Hood’s Progress to Nottingham”: Analyzing the English Ballad

We know Robin Hood the outlaw, but do we know about Robin Hood, the average citizen? Of course, every hero has an origin story, and Robin’s is tragic and sorrowful. In this post, we are going to analyze the ballad, “Robin Hood’s Progress to Nottingham.”

Summary

The ballad, “Robin Hood’s Progress to Nottingham” tells the tale of how Robin Hood became and outlaw. In it, he ventures to Nottingham to test his skill in archery. The ballad begins by telling us that Robin is “fifteen winters old,” and “he was a proper young man / Of courage stout and bold.”

However, he encounters “fifteen forresters” along the way who are all “drinking bear, ale, and wine.” After questioning them of news of a shooting match (in which Robin could test his luck), the foresters treat Robin unkindly. They mock his archery abilities by stating, “That ever a boy so young / Should bear a bow before our king, / That’s not able to draw one string.”

Immediately after, the foresters set a wager. They claim that Robin could “hitst not the marke a hundred rod, / Nor causest a hart to dye.” Yet, he causes a heart to die, as he hits his mark. Regardless, the foresters decide not to pay Robin. So the archer “laught, and begun to smile / as hee went over the plain.” Out of bloodthirsty vengeance, Robin slays fourteen of the fifteen foresters. He then takes the last one hostage, only to “sent another arrow / That split his head in twain.”

The people of Nottingham try to arrest Robin and retrieve the bodies. Yet, Robin kills and maims many of them with his arrows and flees into the forest. The poem states: “Some lost legs, and some lost arms, / And some did lose their blood, / But Robin Hood hee took up his noble bow, / And is gone to the merry green wood.” Afterward, the remaining townspeople take the bodies to be buried.

Background

The ballad is one of the traditional English ballads and departs from modern Robin Hood myth in showing Robin as a true outlaw–and a vain one at that. This poem is a part of a larger corpus of Robin Hood stories that comes from stories told over the centuries, and comes from “several seventeenth-century broadsides and the early garlands” (Knight). Though, “Robin Hood’s Progress to Nottingham” can be traced back to the late medieval period.

The ballad certainly came from times of social upheaval, as stated here in this book review, when many citizens passed stories such as these of folk heroes who stood against taxation as a form of tyranny. As such, it embodies a story of rebellion and independence; that is to say, getting what is rightfully yours. As noted by some authors, the ballad has a “fierce tone” and demonstrates “an orgy of self-defence.” Furthermore, the ballad “harks back to the violent anti-forester spirit of Johnie Cock,” in which a palmer of foresters betray a boy and attempt to kill him.

The ballad appears in various collections of ballads, which are known as child Ballads, as they appear in the works and collections of Francis James Child, such as The English and Scottish Popular Ballads, which was published in the late 19th century.

Conclusion

We normally think of Robin Hood as a right and just person who is an outlaw due to the tyrannical circumstances of the feudal system in Medieval Europe. However, this tale tells us that Robin was far more bloodthirsty and violent, killing 15 plus people because he was denied his reward. With that said, we have to chalk up the morality of the medieval period to something wholly different from what we know today, because it was a different time and a different system of judgement and punishment. Consider Grimm’s Fairy Tales and how violent those children’s stories are in comparison to the children’s stories we have now.

Works Cited

Knight, Stephen, Ohlgren, H. Thomas. “Robin Hood’s Progress to Nottingham.” University of Rochester. Middle English Texts Series. Robin Hood and Other Outlaw Tales. 1997.

Knight, Stephen, Ohlgren, H. Thomas. “Robin Hood’s Progress to Nottingham: Introduction.” University of Rochester. Middle English Texts Series. Robin Hood and Other Outlaw Tales. 1997.

A Poem About Changing Emotions: “From a Heart in a Season”

Literature helps us see a great deal about ourselves. So does poetry. Each poem unveils our own emotions and allows us true insight into our feelings and character. Here is a poem about our changing emotions throughout the seasons. To be aware of such things is essential to being human. Likewise, the more aware you are, the more likely you have empathy for yourself.

From a Heart in a Season

Can we reach each other in the cold?
Where frost holds us hostage.
Where the night finds us before
we’re even ready.

Can we hold each other in the spring?
The wind whips and the rain runs.
Gray skies head overhead–rumbling
because seasons move forward.

Can we see each other in the summer?
The water is blue, like the sky, blended beautifully.
We can stand on the sand and laugh
until our eyes fill with memory.

Can we stay together in the fall?
When the leaves topple toward us.
The colors have changed, but we
haven’t, nor our love.

Poems About Optimism: “The Sun as I’ve Seen It”

Reading stories and poems can help us focus on optimism, even if we are feeling down. Staying optimistic for us is key on gray days and through windy weather. Similarly, if we are in a long spat of negative behavior, it is helpful to see the world through other’s perspectives. Sometimes, you just have to find the love in writing. In this poem, we explore the bad days and viewing poems through optimism is beneficial.

The Sun as I’ve Seen It

That even on bad days the wind seems temperate,
tells me a lot about how I view the world.

Even as the wind blows with sporadic rain,
I can smile at it as though it were passing pain.

Rays of light pierce through the gray clouds,
a peep of heaven every once in a while today.

I suppose it’s looking at the world well,
and reminding myself that clouds pass,

and the sun shines.

Poetry Analysis: “Sing me a Song of a Lad that is Gone”

In this post, we are going to analyze “Sing Me a Song of a Lad that is Gone.” This is a poem by Robert Louis Stevenson that plays into the idea of innocence lost. In perhaps the author’s most famous novel, Treasure Island, a loss of innocence plays a crucial role in the adventure. Moreover, the poem addresses reflecting on aging.

Poem

The poem is six stanzas long, and in the first two stanzas, Stevenson writes about his lost youth. He writes, “Sing me a song of a lad that is gone, / Say, could that lad be I? Merry of soul he sailed on day / Over the sea to Skye” (Stevenson). What this means is that the writer ponders the young man of his youth as he daydreams about his previous adventures and he also realizes that the young man he dreams of is in fact he himself.

In stanza two, Stevenson specifically draws out his examples by stating, “Glory of youth glowed in his soul; / Where is that glory now?” In other words, his glory days are behind him and so he thinks of his youth–of the boy he once was so long ago. This reflection is iconic in that many people have felt this very feeling. We are often beholden to our former selves forever.

Stanza three repeats stanza one’s initial refrain. Stanza four further demonstrates this meaning when he writes, “Give me again all that was there, / Give me the sun that shone!” Again, he means to look back on his glorious days of life and pines for those days once more. “Give me the eyes, give me the soul,” he laments, but those days are gone.

The last two stanzas again repeat (stanza five), and then address more of the author’s youthful vigor. “All that was good, all that was fair, / All that was me is gone” ends the poem. This is a sorrowful note, because now we understand that the author is not simply looking back in recognition, but is looking back in pain and anguish for a lost youth.

Analysis

Stevenson’s poem addresses something we think of often in life: youth wasted. We cannot cherish it the way we cherish it in hindsight. As older people, we can only look back and sigh, while when we are young we live in the moment and care not for our futures. It is easy to do when we are young. The future is uncertain and ahead of us. It is only when we get there that we realize what we had. For many, we shun our future comforts for the wild nights of our youth.

Such an idea would explain why the author doesn’t recognize himself from his memories. “Say, could that lad be I?” tells us that upon reflection, the boy in his head is not even close to the man he turned out to be. Additionally, the last two lines, “All that was good…” tell us that he has changed from something of purity–of light–into something different, perhaps worse, but perhaps more despondent and less pure.

Conclusion

In Treasure Island, we will see Jim Hawkins go from a young naive boy who only knows of his existence in the Admiral Benbow Inn to a steadfast and loyal companion the ship’s crew and captain. Likewise, Hawkins endures some realizations about people’s character that are difficult to comprehend, such as Long John Silver’s facelessness. The innocence lost in the poem compares to how Jim might see himself in hindsight. He is somebody who responsibility holds tightly.

Stevenson, an excellent poet in his own right, creates a fascinating look into aging and reflection with this poem.

Works Cited

https://www.poetryfoundation.org/poems/45949/sing-me-a-song-of-a-lad-that-is-gonehttps://www.poetryfoundation.org/poems/45949/sing-me-a-song-of-a-lad-that-is-gone

Exploring the Theme of Death in Poetry

Poems are all about beauty and presentation. What do they look like? What do they say? Poetry about a blooming flower joining the world with a figurative smile on its face is common. Yet, another commonality is the theme of death in poetry and what it means to humanity. In this post, we will analyze the metaphorical and personified versions of death and how it is conveyed through verse.


Poems that Feature Death

Life and Death

In Carrie Williams Cliffords’ poem “Life and Death,” the author contrasts the two ends of the spectrum of human experience. Life, she presents, is the difference between liveliness and the shadows that hang in the corner. In life, she states, “I saw a candle brightly burning in the room!” Later in the poem: “Upon the generous hearth / Quick Wit and bubbling Laughter / Flashed and danced / Sparkled and pranced” (Clifford). In other words, life is relative to life-like verbiage.

Furthermore, she states that death is “a cloud of gloom / … Then from the shadows came the Dreaded Shape,– / The candle flickered out!” Both life and death are representations of the spirited nature of the individual. Life is full of brightness and things are “crystal clear,” while death is contrasted with “gloom,” “blue-gray mist,” and silence (Clifford).

Death is a One Night Stand

Meanwhile, in “Death is a One Night Stand,” poet Sjohnna McCray uses the duality of a date and a murder to show death’s strange and violent embrace in life. In this way, death in poetry comes to life.

“A poor boy promised me a textbook view / of the stars,” he states. “… Medusa-like in their paralyzing beauty. / He drives the dark highway …”

The speaker is telling us that they are going on a date with a “poor boy” of uncertain character. The words McCray uses relates to death on different levels. He uses words like “snaking,” “Medusa-like,” “dark highway,” and “Stiff black trunks and treetops wave / goodbye from the roadside…” All of these words have a negative, foreboding connotations. Snakes are deceptive, while Medusa is a killer by trade, and “black trunks” of trees that “wave goodbye” is never a good sign.

McCray writes in the last stanza: “He places a hand on the dip of my back / to guide me, like Hades, in his world.” Invoking the god of the underworld is one way to convince us that the intentions of the “poor boy” are not chivalrous in nature. Death, in this way, is a malevolent force that can cut down even the most chaste character. With it comes language akin to Carrie Williams Cliffords’ poem. To evoke the dark side of death, we must use words to evoke that evilness.

Death

Additionally, when getting toward a more direct interpretation of death in the abstract—death as a verb—we can find contemplative meaning from poems. Loureine Aber writes in “Death” that shuffling off one’s mortal coil is a “magnificent time” in her life. The death in poetry here symbolizes a sort of reawakening into an unknown world.

She states: “Me, now scattered to the winds of living, / Now drifting like a broken reed seaward: / Death is coming to me.” What I think she means is that her life, though fulfilled, has left her abandoned at sea in her time of death, because at the end of one’s life, it does not matter how many friends you made or what your loved ones feel as you are traveling forth into the void alone. “New valleys,” she writes. “New great moons to haunt my tired lips.”

Death Be Not Proud

Finally, in looking at the English poet John Donne, we have his poem “Death Be Not Proud,” in which the speaker of the poem confronts Death indignantly and with defiance. Something I think many of us believe we would do when confronted by the Grim Reaper.

“Mighty and dreadful, for thou art not so; / For those whom thou think’st thou dost overthrow / Die not, poor Death, nor yet canst though kill me,” Donne writes. Death, in his eyes, whether the proper noun or the abstract, causes the speaker of the poem no great concern, because without a doubt—it is not his time to go into the land of the dead.

In the final part of the poem, Donne laments that death does not scare him because there are ways to overcome it and embrace it, from the “rest of their bones,” or “sleep” to engaging with eternal life through memory. “And death shall be no more; Death, thou shalt die” (Donne). In this bit of poetry, death comes for the living but is vanquished by the expiration of the soul.

Conclusion

Death comes in many forms, from the contrast of brightness to gloominess. It also comes in the form of innocence murdered by the hands of common ghouls. Yet, regardless of how one dies or whether they are afraid of perishing, one can overcome death. According to poetry, one can overcome death by seeing it not as a horrendous affliction. Rather, one can realize it is nothing more than sleep, or a new adventure. Death does not stop memories, either, so even though one must face it alone, their character and confidence will be carried into the future by their loved ones.

Works Cited

Aber, Loureine. “Death.” Poetry Foundation. Web. https://www.poetryfoundation.org/poetrymagazine/browse?contentId=16269

Clifford, Carrie Williams. “Life and Death.” Poets.org. Web. https://poets.org/poem/life-and-death

Donne, John. “Death Be Not Proud.” Commonlit. Web. https://www.commonlit.org/en/texts/death-be-not-proud

McCray, Sjohnna. “Death is a One Night Stand.” Poets.org. Web. https://poets.org/poem/death-one-night-stand

“Fall, Leaves, Fall” by Emily Bronte: Analysis

Fall is certainly one of the best times of the year. Yet, it is strange how it differs from city to country, from sidewalk to path. The colors pop a little harder in some places, and a little less in others. With it, however, is that feeling that the winter is on its way, and that the season is forever shifting onward without you. Poets really have a way with saying one thing and meaning another. In this post, we are going to analyze “Fall, Leaves, Fall” by Emily Bronte.

Analysis
Memories

I could speak a while about watching Charlie Brown and friends sail the ocean blue with Christopher Columbus one dreary Sunday in November and finding myself looking away from the television at the leafless, lifeless trees outside and searching somewhere deep inside myself for happiness.

In “Fall, Leaves, Fall” by Emily Bronte, the poet reminds us of such memories for a specific reason. That is, while we are thankful for the rain hitting the window on gloomy, fall afternoons, we are still reminded of the growing darkness headed around the corner.

The Poem

In the first quatrain of “Fall, Leaves, Fall,” the author espouses a love for the autumn season as it happens. “Fall, leaves, fall; die, flowers, away;” she states. “Lengthen night and shorten day; / Every leaf speaks bliss to me, / Fluttering from the autumn tree” (Bronte).

Furthermore, in the second quatrain of the poem, Bronte welcomes winter. Bronte states “I shall smile when wreaths of snow / Blossom where the rose should grow;” which shows us Bronte’s acceptance of the changing seasons. “I shall sing when night’s decay / Ushers in a drearier day,” Bronte finishes. “Decay” is an odd word choice because what else decays but nature and humanity?

Explanation

Time and life dwindling away are always tried and true themes in stories of change and renewal. I mean, what greater imagery is there than the leaves falling from a colorful tree to remind us that life moves in cycles? The only sadness is the shortened days and longer nights. But, without the abbreviated days, it really wouldn’t feel so fall out, would it? So we come to appreciate this cycle.

Yet, poems are rife with metaphor, so one has to look a little deeper at the language used in the poem. In the poem, leaves “fall.” Of course, the poem is set in the season of fall. There is a link between these two ideas. In the same way, one could argue that leaves falling symbolize the descent of life into death. That is, a living thing falling and landing on its own grave—the Earth itself. To “Lengthen night and shorten day” is to see the darkness growing in our own lives while the light is extinguished. Our lives literally grow shorter and the light leaves us for darkness. Sure, cold overtakes the rose (love and warmth), but what else is there to do but embrace the coming darkness?

Meanwhile, “Every leaf speaks bliss to me” shows the author’s feelings toward this growing inevitability. Every leaf that has fallen, every day that has gone by, has been bliss. Even as the end looms, there is much to be thankful for those days are counted. Bronte relishes this realization and looks toward the future.

The link between the two is clear to me.

Conclusion

Everybody understand the frailty that exists between autumn and winter. When you have the first, the second is very, very close behind. Though, is that not symbolic of life? As we know the good days are always haunted by the bad ones, and one’s life can have love and warmth, but we all face the coming cold and darkness regardless of our station or our purpose.

Bronte, much like many poets, tells us that our hearts are in the drearier days, but if we cherish the days we’ve had and relish the days ahead, then any amount of dreariness should be the driving fire that pushes us forever onwards.

Works Cited

Brontë, Emily. “Fall, Leaves, Fall .” Poetry Foundation, 10 Oct. 2022, poetryfoundation.org/poems/52330/fall-leaves-fall.