Late

I often walk past a long, stately row of thirty tall cottonwoods.  (Yes, once upon a time I counted them.)  They always seem to be the last to lose their leaves.  On a sunny, breezy afternoon, as the season begins to depart, the noble old-timers take on the look of young aspens. Their remaining yellow leaves — high up in swaying boughs — flicker, tremble, and shine in the blue sky, in the honey sunlight.  But now, as December begins, they are nearly empty, and the path beside them is littered in gold.

     Fallen leaves

Come flying from elsewhere:

     Autumn is ending.

Masaoka Shiki (1867-1902) (translated by R. H. Blyth), in R. H. Blyth, Haiku, Volume 3: Summer-Autumn (Hokuseido Press 1952), page 355.

Yet no "Alas!" is called for.  Unannounced and unexpected, gifts are always arriving "from elsewhere," be it autumn, winter, spring, or summer.  Nothing is to be regretted or mourned.  "Earth never grieves!"

Onto the rain porch

     from somewhere outside it comes —

a fallen petal.

Takahama Kyoshi (1874-1959) (translated by Steven Carter), in Steven Carter, Traditional Japanese Poetry: An Anthology (Stanford University Press 1991), page 443.

Edward Waite (1854-1924)

"The Mellow Year Is Hastening To Its Close" (1896)

As the solstice approaches, my afternoon walks have become twilight walks.  All is quiet and dark within the groves of pine trees, save for occasional twitters, or brief songs, from far off in the shadows.  Now and then a solitary crow flies overhead, sometimes silent, sometimes cawing.  The immemorial solitary crow of autumn.

     An autumn evening;

Without a cry,

     A crow passes.

Kishū (1743-1802) (translated by R. H. Blyth) in R. H. Blyth, Haiku, Volume 3: Summer-Autumn, page 345.

At some point in the season, one feels the melancholy pull of decline. The bittersweet wistfulness and wistful bittersweetness of early autumn and high autumn are long gone, irrecoverable.  Funereal but tempting, the late autumn emptiness and darkness beckon.

     Dirge in Woods

A wind sways the pines,

        And below

Not a breath of wild air;

Still as the mosses that glow

On the flooring and over the lines

Of the roots here and there.

The pine-tree drops its dead;

They are quiet, as under the sea.

Overhead, overhead

Rushes life in a race,

As the clouds the clouds chase;

        And we go,

And we drop like the fruits of the tree,

        Even we,

        Even so.

George Meredith,  A Reading of Earth (Macmillan 1888).

Edward Waite, "Autumn Colouring" (1894)

But there shall be no dirges as autumn fades.  As ever in the World of beautiful particulars, departures are followed by arrivals, there is no loss without an attendant gain.  One afternoon this week it seemed for a moment that the long tree shadows laid across the bright green grass of a meadow were the essence of loss and sorrow.  Until one saw the trunks and empty branches of the trees, which had suddenly turned gold in the angled sunlight -- each and every twig glittering, aflame.

               The Last Leaf

I saw how rows of white raindrops

   From bare boughs shone,

And how the storm had stript the leaves

   Forgetting none

Save one left high on a top twig

   Swinging alone;

Then that too bursting into song

   Fled and was gone.

Andrew Young, in Edward Lowbury and Alison Young (editors), The Poetical Works of Andrew Young (Secker & Warburg 1985).

Yes, gifts never cease to arrive from elsewhere.

     Leaning against the tree,

Branches and leaves are few:

     A night of stars.

Masaoka Shiki (translated by R. H. Blyth), in R. H. Blyth, Haiku, Volume 3: Summer-Autumn, page 365.

Edward Waite, "Fall of the Year"

Three Thoughts

I return often to the poetry of Walter de la Mare.  As is the case with all the poets of whom I am fond, I go there in search of Beauty and Truth.  But, when it comes to de la Mare, I also go because of his common sense, equanimity, wisdom, and goodwill.  His essential humanity is a wonderful thing to experience, and to learn from.  How I feel about him is captured quite well by one of his poems:

                       Rarities

Beauty, and grace, and wit are rare;

     And even intelligence:

But lovelier than hawthorn seen in May,

Or mistletoe berries on Innocent's Day

The face that, open as heaven, doth wear --

With kindness for its sunshine there --

     Good nature and good sense.

Walter de la Mare, Inward Companion: Poems (Faber and Faber 1950).

Revisiting his poetry over the past few weeks, I noticed these qualities more acutely.  I suspect this is due to the contrast between the humanity one finds in de la Mare and his poems and the unedifying spectacle we have been witnessing the past few months, which is the antithesis of all that is embodied in his life and art.

Looking for old favorites, I came upon this:

Ah, Stranger, breathe a sigh:

     For, where I lie,

Is but a handful of bright Beauty cast:

     It was; and now is past.

Walter de la Mare, The Complete Poems of Walter de la Mare (Faber and Faber 1969).

David Muirhead (1867-1930), "English Landscape"

"A handful of bright Beauty."  How lovely.  When it comes to poetry, one thing leads to another, doesn't it?  Something floated to mind.  So I took one of Norman Ault's fine anthologies down from the shelf and turned the pages to this:

     An Epitaph for a Godly Man's Tomb

Here lies a piece of Christ; a star in dust;

A vein of gold; a china dish that must

Be used in heaven, when God shall feast the just.

Robert Wild (1609-1679), in Norman Ault (editor), Seventeenth Century Lyrics from the Original Texts (Longmans, Green & Co. 1928).  The poem was first published in 1668.

I am no doubt getting old and cranky, but the 17th century seems like a seemly and hospitable place to me these days.  Does one reach a point in life where one feels that one has had enough, that it is now time to depart?  "But no longer at ease here, in the old dispensation,/With an alien people clutching their gods."  A different century, a different set of gods, yes.  And yet . . .

David Muirhead, "Woodland Scene" (1918)

"A star in dust."  Another lovely thought.  Another stepping stone.  I went to another shelf and sought out this:

What is Death?  A Life

disintegrating into

smaller simpler ones.

W. H. Auden, from the sequence "Shorts II," in Collected Poems (Faber and Faber 1976).

"A handful of bright Beauty."  "A star in dust."  "A Life/disintegrating into/smaller simpler ones."  Three thoughts randomly and unexpectedly coming together.  I do not place them here in an attempt at edification.  (The last thing I am in need of at the present time is unasked-for edification, thank you.  Thus, have no fear, dear readers, I am not a member of the edification police.)  As I have said here before, I am easy to please.  This is nothing more than a report on how I spent an evening.  Frolic and detour.

David Muirhead, "A Lowland Landscape"

I did not begin my evening expecting to have these three poems reappear.  But this is the way poetry works.  A poem that touches us never vanishes.  Who knows when it will return?  

One day an unbidden gift unaccountably arrives at our doorstep. Where did this come from?  One thing leads to another.

Onto the rain porch

     from somewhere outside it comes --

a fallen petal.

Takahama Kyoshi (1874-1959) (translated by Steven Carter), in Steven Carter, Traditional Japanese Poetry: An Anthology (Stanford University Press 1991), p. 443.

David Muirhead, "The Avenue" (1901)

Philosophy

In his poems, Norman MacCaig occasionally takes good-natured digs at modern philosophers and academics, digs that serve as reminders and cautions to the rest of us as well.

    Woodcocks and Philosophers

The woodcock I startled yesterday
clattered off through the birch trees
without starting to philosophise
and write a book about it.

That's his way.
And that's how he survives.
It amazes me that loafing philosophers
Don't all die young.

Unless, of course, when reality
saunters by, they crash off
through book after book, without reading
one blessed word.

Norman MacCaig, in Ewen McCaig (editor), The Poems of Norman MacCaig (Polygon 2005).

A side-note:  like a great deal else, philosophy isn't what it used to be, is it?  One longs for those passionate, not-suffering-fools-gladly, intemperate, entertaining, exasperating, eccentric characters of yore: Kierkegaard, Schopenhauer, Leopardi (a poet-philosopher or a philosopher-poet, as you wish), and Wittgenstein come to mind.  Or, to go back even further:  Marcus Aurelius, Seneca, Epictetus, Heraclitus.

When it comes to sensibilities such as these, one has the feeling that philosophy is a matter of life and death, that it has something vital to do with how we live and how we die.  Now, we have academic philosophy.  Shot through with politics, social "science," and semantics, as one would expect.  Posturing and word-play.  No wonder MacCaig was skeptical, in his kindly way.

John Noble Barlow (1861-1917), "Autumn at Lamorna, Cornwall"

Here is MacCaig again:

    Compare and Contrast

The great thinker died
after forty years of poking about
with his little torch
in the dark forest of ideas,
in the bright glare of perception,
leaving a legacy of fourteen books
to the world
where a hen disappeared
into six acres of tall oats
and sauntered unerringly
to the nest with five eggs in it.

Norman MacCaig, Ibid.

He is exaggerating for effect, of course.  We are not woodcocks or hens:  we are not as at home in ourselves, or as elegant, as they are. He is not calling for an Edenic "return to nature."  His poems are full of human beings -- their joys and sorrows, their goodness and badness, and everything in between.  "The great thinker" and the "loafing philosophers" are us.  As are his crofters, shepherds, postmen, bus drivers, old men in pubs.  Still, nature is ever-present in his poetry:  mountains, lochs, trees, the sea, flowers, rain and snow, the moon, the stars, and the planets -- and the birds, always the birds.  There is a back-and-forth, a balance.  Human beings and nature are, by turns, the foreground and the background.

John Noble Barlow, "Marazion Marshes, Cornwall"

In an interview, MacCaig said something wonderful:  "I'm bombarded with things that are loveable."  (Ibid, "Quotations from MacCaig," page xlviii.)  This is a capacious and beautiful view of the World, of existence.  "When reality saunters by . . ."   When reality saunters by, as it does each day, we should be receptive and attentive. And grateful.

Onto the rain porch
     from somewhere outside it comes --
a fallen petal.

Takahama Kyoshi (1874-1959) (translated by Steven Carter), in Steven Carter, Traditional Japanese Poetry: An Anthology (Stanford University Press 1991), page 443.

John Noble Barlow, "Dewerstone, Shaugh"