Messages

Where does one begin when it comes to autumn?  And where does one begin when it comes to the poetry of autumn?  For some unknown reason, these lines by Ezra Pound (a translation of lines written by Li Po in the 8th Century) suddenly arrive, unbidden: "What is the use of talking, and there is no end of talking,/There is no end of things in the heart."  (Ezra Pound, "Exile's Letter," in Cathay (Elkin Mathews 1915), page 22.)  (An aside: I first read these lines when I was a sophomore in college, taking a course titled "Yeats, Pound, and Eliot."  I was in the midst of falling in love with poetry. Fifty years later, here I am: still in love, still falling in love anew.)

Well, yes, autumn: "There is no end of things in the heart."  And thus, each autumn, one returns to what one loves in the season, and in the poetry of the season.  As long-time (and much-appreciated!) readers of this blog may recall, I have on more than one occasion described autumn as the season of bittersweet wistfulness and of wistful bittersweetness.  What is one to do with such beauty, with its passing, with its loss?  But I am merely repeating what each of us already knows, aren't I?

                         Standing in the Evening

In the yellow dusk I stand alone before the Buddha hall;

pagoda tree blossoms fill the ground, cicadas fill the trees.

Each of the four seasons brings a pang to the heart,

but something special -- the sadness of these autumn days!

Po Chü-i (772-846) (translated by Burton Watson), in Po Chü-i, Selected Poems (Burton Watson, editor) (Columbia University Press 2000), page 50.  In China, pagoda trees bloom in late summer or early autumn, depending upon the region in which they are located.

Here is another poem by Po Chü-i, one which I visit each year as autumn makes its first appearance.

                            The Cranes

The western wind has blown but a few days;

Yet the first leaf already flies from the bough.

On the drying paths I walk in my thin shoes;

In the first cold I have donned my quilted coat.

Through shallow ditches the floods are clearing away;

Through sparse bamboos trickles a slanting light.

In the early dusk, down an alley of green moss,

The garden-boy is leading the cranes home.

Po Chü-i (translated by Arthur Waley), in Arthur Waley, More Translations from the Chinese (George Allen & Unwin 1919), page 57.  The poem is written in the eight-line lü-shih ("regulated verse") form, which, in addition to having tonal and rhyming requirements, calls for verbal parallelism in the second and third couplets. (See Burton Watson (editor), The Columbia Book of Chinese Poetry: From Early Times to the Thirteenth Century (Columbia University Press 1984), pages 8-12, 374.)

Cecil Gordon Lawson (1849-1882), "Cheyne Walk, Chelsea" (1870)

Since mid-September, I had been waiting to see my first woolly bear caterpillar of the year.  To no avail.  I had nearly given up hope.  A few weeks ago, out on my afternoon walk, I thought to myself (my walking thoughts are quite mundane): "I guess I won't be seeing any woolly bears this year."  Then, after about ten minutes of walking along an asphalt pathway that passes between two large meadows, I saw a small dark shape up ahead of me in the middle of the pathway. I approached, and there it was: a woolly bear crossing from one meadow to the other, heading westward toward the waters of Puget Sound and the setting sun.

I did what I always do in these circumstances (and for which I seek neither credit nor praise, since this is something we all do, I presume): I stood watch in the middle of the pathway to make certain that he or she made a safe passage, unharmed by inattentive walkers or bicyclists.  In the focused, single-minded, and, yes, lovable fashion of woolly bears, it successfully crossed the pathway and disappeared into the dry grass of the meadow.  And so, as always happens with humans and woolly bears -- who meet only to part -- we each went our destined way.

A wonderful coincidence?  A lovely moment of serendipity?  So one might say.  Prosaically.  But I was not content to leave it at that on the afternoon on which the woolly bear and I shared a brief interval of time and space in the World.  Nor am I content to leave it at that now. The World sends us messages.  Unexpectedly.  It is up to each of us to make of them what we will.  I had received a message.  The message was wordless.  And words cannot explain it. 

A butterfly flits

All alone -- and on the field,

A shadow in the sunlight.

Bashō (1644-1694) (translated by Makoto Ueda), in Makoto Ueda, Bashō (Twayne Publishers 1970), page 50.

     People are few;

A leaf falls here,

     Falls there.

Issa (1763-1828) (translated by R. H. Blyth), in R. H. Blyth, Haiku, Volume 4: Autumn-Winter (Hokuseido Press 1952), page 364.

     The stillness;

A bird walking on the fallen leaves:

     The sound of it.

Ryūshi (died 1681) (translated by R. H. Blyth), Ibid, page 365.

     The leaf of the paulownia,

With not a breath of wind,

     Falls.

Bonchō (died 1714) (translated by R. H. Blyth), Ibid, page 130.

"In old-fashioned novels, we often have the situation of a man or a woman who realizes only at the end of the book, and usually when it is too late, who it was he or she had loved for many years without knowing it.  So a great many haiku tell us something that we have seen but not seen.  They do not give us a satori, an enlightenment; they show us that we have had an enlightenment, had it often, -- and not recognized it."  (R. H. Blyth, Haiku, Volume 3: Summer-Autumn (Hokuseido Press 1952), page 322 (italics in the original text).)

Another way of looking at the World's messages:

"Gifts are still occasionally given us, particularly when we have not asked for them, and I cling to the hope of understanding the link between certain of them and our inner life, their meaning in relation to our most persistent dreams."  (Philippe Jaccottet (translated by Mark Treharne), Landscapes with Absent Figures (Delos Press/Menard Press 1997), page 3.)

Reginald Brundrit (1883-1960), "Autumn by the River"

At times, words are not sufficient.  Nor are they required.  Perhaps (likely?) at the most important times.  So says a person who loves poetry.  So says a person who has maintained a blog (fitfully) for more than 15 years, relying upon words.  A person who returns each autumn -- faithfully and unfailingly -- to the beautiful words of the following poem.

                 Leaves

The prisoners of infinite choice 

Have built their house

In a field below the wood

And are at peace.

It is autumn, and dead leaves

On their way to the river

Scratch like birds at the windows

Or tick on the road.

Somewhere there is an afterlife

Of dead leaves,

A stadium filled with an infinite

Rustling and sighing.

Somewhere in the heaven

Of lost futures

The lives we might have led

Have found their own fulfilment.

Derek Mahon, The Snow Party (Oxford University Press 1975).

"Remember what an Atom your Person stands for in respect of the Universe, what a Minute of unmeasurable Time comes to your share, and what a small Concern you are in the Empire of Fate!"  (Marcus Aurelius (translated by Jeremy Collier), Meditations, Book V, Section 24, in Jeremy Collier (1650-1726), The Emperor Marcus Antoninus: His Conversations with Himself (1701), page 78.)

It all comes back to the leaves, their rising and their falling.  While we are here, and after we are gone.

                    Under Trees

Yellow tunnels under the trees, long avenues

Long as the whole of time:

A single aimless man

Carries a black garden broom.

He is too far to hear him

Wading through the leaves, down autumn

Tunnels, under yellow leaves, long avenues.

Geoffrey Grigson, The Collected Poems of Geoffrey Grigson, 1924-1962 (Phoenix House 1963).

William Samuel Jay (1843-1933)

"At the Fall of Leaf, Arundel Park, Sussex" (1883)

"In a lifetime how many springs do we see?"  This is the final line of "Pear Blossoms by the Eastern Palisade," a four-line poem by Su Tung-p'o (1037-1101) which has appeared here on several occasions. However, as Po Chü-i observes above in "Standing in the Evening": "Each of the four seasons brings a pang to the heart."  Thus, with apologies and gratitude to Su Tung-p'o, I find myself thinking: "In a lifetime how many autumns do we see?"  This thought is a product of age, no doubt.  Which, I should add, is not a bad thing.

                                   Autumn Ends

Lost in vacant wonder at how the months flow away in silence,

I sit alone in my idle hut, thinking endless thoughts.

An old man's cares, like these leaves, are hard to sweep away.

To the sound of their rustling I see autumn off once again.

Tate (pronounced ta-tay) Ryuwan (1762-1844) (translated by Burton Watson), in Burton Watson, The Poetry of Ishikawa Jozan and Other Edo-Period Poets (North Point Press 1990).  The poem is in the form of a kanshi, a poem written in Chinese by a Japanese poet, adhering to the strict rules of traditional Chinese prosody.

The following poem provides a lovely and moving complement to Tate Ryuwan's poem:

When I was young, not knowing the taste of grief,

I loved to climb the storied tower,

loved to climb the storied tower,

and in my new songs I'd make it a point to speak of grief.

But now I know all about the taste of grief.

About to speak of it, I stop;

about to speak of it, I stop

and say instead, "Days so cool -- what a lovely autumn!"

Hsin Ch'i-chi (1140-1207) (translated by Burton Watson), in Burton Watson (editor), The Columbia Book of Chinese Poetry: From Early Times to the Thirteenth Century (Columbia University Press 1984), page 371.  The poem is untitled.

Autumn.  The World.  Sending us messages.  Gifts, as Philippe Jaccottet would say.  

The wind has brought

     enough fallen leaves

To make a fire.

Ryōkan (1758-1831) (translated by John Stevens), in John Stevens (editor), One Robe, One Bowl: The Zen Poetry of Ryōkan (Weatherhill 1977), page 67.

James McIntosh Patrick (1907-1998), "Autumn, Kinnordy" (1936)

Small Things

One afternoon last week, as I walked along the edge of a grove of pines and maples, I heard a bird's voice up ahead, high in a pine.  Not a song or a warble, but two firm, quick calls of the same note, with the sequence repeated three or four times.  Then silence.  A minute or so later, the two calls were again repeated three or four times, but from another pine, closer this time.  The message seemed to be something along the lines of: "I'm here. I'm here."  Not an alarm or a warning.  Rather, an announcement of sorts (perhaps a greeting?) to any nearby listeners.

I kept walking -- waiting for further calls, and looking up into the trees to see if I could find the source.  Then, as I passed beneath the overarching branches of a group of tall bushes, a pileated woodpecker flew down from the left, just ahead of me, and landed on the branch of a bush on my right, at eye level a few yards away.  (Please note that I am no expert when it comes to the identification of birds.  I knew the name of the bird because I have long had a reliable source: Birds of Discovery Park (prepared by the Seattle Audubon Society and the Seattle parks department), a two-page list of the more than 200 species of birds that inhabit the place where I take most of my walks.)

What a wonderful sight he or she was: a bright red pointed crest on the top of its head, two thin white stripes on its black face, with the stripes continuing down its neck, and a black-feathered body.  I see the woodpeckers a few times a year, but nearly always at a distance: tapping away up in a tree, my eyes drawn to them by the hollow drumming.  Seldom do I see them close at hand.  After pausing a moment on the branch, it flew away into the sunlight and shadow of the grove.  

I have recently been revisiting the poetry of Saigyō.  A day or so after my encounter with the woodpecker, I came upon a poem (a waka) I hadn't read in quite some time:

Were we sure of seeing

a moon like this

in existences to come,

who would be sorry

to leave this life?

Saigyō (1118-1190) (translated by Burton Watson), in Burton Watson (editor), Saigyō: Poems of a Mountain Home (Columbia University Press 1991), page 158.

These poems we read and love: we carry them within us.  They wait patiently.  When the time is right, we find them again, or they return to us.  Often serendipitously.  Saigyō's poem arrived in such a fashion. 

A small thing, my encounter with the woodpecker, but of inestimable value.  A value best left unspoken, unarticulated.  But not to be forgotten.  One of those gifts which -- suddenly, unaccountably -- are bestowed upon us by the World.

Christopher Sanders (1905-1991)

"Sunlight Through a Willow Tree at Kew" (c. 1958)

Small things, never to be forgotten.  Seven years ago in May, a hundred or so feet away from the spot where I spent a moment with the woodpecker, I came across a dead mole lying on its back beside the same path.  In my post of May 23, 2018, I wrote this about the mole: "He or she was a small, dark-brown thing, about eight inches long, its pinkish-white, fleshy front paws open to the sky.  It was those tiny, outspread paws that particularly touched me."

I closed the brief post with this poem, which has appeared here on more than one occasion:

               A Dead Mole

Strong-shouldered mole,

That so much lived below the ground,

Dug, fought and loved, hunted and fed,

For you to raise a mound 

Was as for us to make a hole;

What wonder now that being dead

Your body lies here stout and square

Buried within the blue vault of the air?

Andrew Young, in Edward Lowbury and Alison Young (editors), The Poetical Works of Andrew Young (Secker & Warburg 1985), page 63.  The poem was originally published in Speak to the Earth (Jonathan Cape 1939).

I find it hard to believe that it has already been seven years since I shared that short time with the mole.  As the saying goes (repeated at more frequent intervals as one ages, in my experience): "It seems like only yesterday . . ."  Should I let go of my memory of the mole?  Am I being "sentimental"?  A fair number of moderns (wise, undeceived, and ironic) are wont to scoff at "sentimentality."  This is sufficient to convince me to embrace it further.

                  What?

What dost thou surely know?

What will the truth remain,

When from the world of men thou go

To the unknown again?

What science -- of what hope?

What heart-loved certitude won

From thought shall then for scope

Be thine -- thy thinking done?

Tis said, that even the wise,

When plucking at the sheet,

Have smiled with swift-darkening eyes,

As if in vision fleet

Of some mere flower, or bird,

Seen in dream, or in childhood's play;

And then, without sign or word,

Have turned from the world away.

Walter de la Mare, The Complete Poems of Walter de la Mare (Faber and Faber 1969), page 290.  The poem was originally published in The Fleeting and Other Poems (Constable 1933).

Patrick Symons (1925-1993), "Oak Arch Grey" (1981)

Exchanging glances with a pileated woodpecker.  Leaning down to look at a lifeless mole lying open to the huge blue sky.  These small things were fated never to be forgotten.  But, when it comes to the gifts the World bestows upon us -- its beautiful particulars -- there is no hierarchy.  Nothing is quotidian or commonplace if we are attentive and grateful.

                         The Escape

I believe in the increasing of life; whatever

Leads to the seeing of small trifles . . . . . 

Real, beautiful, is good, and an act never

Is worthier than in freeing spirit that stifles

Under ingratitude's weight; nor is anything done

Wiselier than the moving or breaking to sight

Of a thing hidden under by custom; revealed

Fulfilled, used, (sound-fashioned) any way out to delight.

.     .     .     .     .     .     .     .     .     .     .     .     .     .     .     .

Trefoil . . . . hedge sparrow . . . . the stars on the edge of night.

Ivor Gurney (1890-1937), in Ivor Gurney, Selected Poetry (edited by George Walter) (J. M. Dent 1996), page 46.  The punctuation, and the ellipses (in lines 2 and 9, and between lines 8 and 9), are as they appear in the original typescript.  The poem was not published during Gurney's lifetime.

"Hedge sparrow."  Yes, I understand.  My afternoon walk takes me along a path that passes through the center of a large meadow of tall wild grass.  Nearly every day, sparrows suddenly appear out of the grass ahead of me, and hop and skip away down the path.  I've come to think of them as companions, but I suspect they don't regard me as such.  Still, I harbor the fancy that they are starting to tolerate my presence.  Small things, of inestimable value.

      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, in Ewen McCaig (editor), The Poems of Norman MacCaig (Polygon 2005), page 432.

In the year before his death, Walter de la Mare said to a friend who came to visit him: "My days are getting shorter.  But there is more and more magic.  More than in all poetry.  Everything is increasingly wonderful and beautiful."  (Theresa Whistler, Imagination of the Heart: The Life of Walter de la Mare (Duckworth 1993), page 443.)

     The world of dew

is the world of dew. 

     And yet, and yet --

Issa (1763-1827) (translated by Robert Hass), in Robert Hass, The Essential Haiku: Versions of Bashō, Buson, and Issa (The Ecco Press 1994), page 191.  R. H. Blyth provides background to Issa's haiku: "This verse has the prescript, 'Losing a beloved child.' . . . He had already lost two or three children when this baby girl died."  (R. H. Blyth, Haiku, Volume 3: Summer-Autumn (Hokuseido Press 1952), page 433.)

Robert Ball (1918-2009), "Mrs. Barclay's Pond, Harborne" (1949)

Frolic and Detour

Forty-one years on, I retain very little from my three years of law school.  Memories of friendships.  And of a love.  Alas, lost.  As for "The Law" itself, only a few scattered phrases remain from all those books and lectures.  For instance: "frolic and detour."  The concept comes from the law of torts: an employer is not liable for the actions of an employee who engages in activity which is beyond the scope of his or her duties.  I have never had occasion to address frolic and detour in the "practice" of law.  On the other hand, I habitually engage in frolic and detour when it comes to the reading of poetry.

Recently, I have been spending time in the company of Bashō and Walter de la Mare.  As my decades with them have passed, their companionship has become more and more comforting.  And essential.  Where would I be without them?

Hototogisu --

through a vast bamboo forest

moonlight seeping

Bashō (1644-1694) (translated by Makoto Ueda), in Ueda, Bashō and His Interpreters: Selected Hokku with Commentary (Stanford University Press 1991), page 314.

A hototogisu "is a bird that looks like an English cuckoo, but is smaller and has a sharp, piercing cry."  Ibid, page 198.  R. H. Blyth describes it as follows: "The hototogisu corresponds more or less to the English cuckoo.  The breast of the male is blackish, with white blotches.  The breast of the female is white, the inside of the mouth red; it has a crest of hair on the head. . . . From early summer, it sings day and night, and ceases in autumn."  R. H. Blyth, Haiku, Volume 3: Summer-Autumn (Hokuseido Press 1952), page 161.

Blyth provides this translation of Bashō's haiku:

     Moonlight slants through

The vast bamboo grove:

     A hototogisu cries.

Ibid, page 161.  The Romanized version ("Romaji," to use the Japanese term) of the haiku is: hototogisu/ōtakeyabu wo/moru tsukiyo.  Ibid, page 161.  Hototogisu means "cuckoo"; ōtakeyabu means "large bamboo grove;" wo is a particle which identifies ōtakeyabu as the object of moru tsukiyo; moru means "to seep;" tsuki means "moon" and yo means "night" (hence, the compound word tsukiyo can mean either "moonlight" or "moonlit night").  

A distinctive difference between the two translations of the haiku is that Ueda translates the Japanese word moru as "seeping," whereas Blyth opts for "slants through."  As a matter of beauty, I prefer Blyth's "moonlight slants through" to Ueda's "moonlight seeping," but Ueda's translation of moru is arguably more accurate.  A second difference is that Blyth states that the hototogisu "cries," whereas Ueda does not.  Again, Ueda's translation is arguably more accurate: Bashō gives us only the word hototogisu to commence the haiku, with no accompanying verb.  Haiku poets, in stating the name of a particular bird, will quite often leave it up to the reader to infer whether the bird is singing (or chirping, warbling, or silent).  (But I should be careful not to overstep my bounds: given my limited experience with Japanese, I am an amateur, with no right to quibble with, much less express opinions on, translations.  But it is interesting to consider the choices that different translators make.) In any case, whichever of the two translations one prefers, Bashō's haiku is lovely, affecting, and haunting.

James McIntosh Patrick (1907-1998)

"Midsummer, East Fife" (1936)

Thus began a day or so of frolic and detour.  Soon after reading Bashō's haiku, I happened upon this:

An echo, perhaps?

From the valley, then the peak --

a cuckoo's call.

Gusai (died 1376) (translated by Steven Carter), in Carter, Traditional Japanese Poetry: An Anthology (Stanford University Press 1991), page 281.

With Walter de la Mare on my mind, Gusai's echoing call of the cuckoo/hototogisu took me further afield (and happily so): 

          Echo

Seven sweet notes

In the moonlight pale

Warbled a leaf-hidden

Nightingale:

And Echo in hiding

By an old green wall

Under the willows

Sighed back them all.

Walter de la Mare, The Complete Poems of Walter de la Mare (Faber and Faber 1969), page 415.  "Echo" was originally published in Bells and Grass: A Book of Rhymes (Faber and Faber 1941).  Bells and Grass: A Book of Rhymes is ostensibly a book of children's verse. However, as all those who love Walter de la Mare's poetry know, one should bear in mind the subtitle to de la Mare's Come Hither, his wonderful anthology of poetry (published in 1923): "A Collection of Rhymes and Poems for the Young of All Ages."  

In 1942, de la Mare's volume of Collected Poems was published, consisting of poems for adults.  In 1944, his volume of Collected Rhymes and Verses was published, consisting of poems for children. In the preface to the latter volume, de la Mare writes: "To what degree and in what precise respect the contents of this volume differ from the contents of Collected Poems are little problems which I will not attempt to explore.  Somewhere the two streams divide -- and may re-intermingle.  Both, whatever the quality of the water, and of what it holds in solution, sprang from the same source.  And here, concerning that -- nor will I even venture on an Alas -- silence is best."  

A lovely and enlightening statement by de la Mare.  Over the years, I have come to make no distinction between his "adult poems" and his "children's verse and rhymes."  They indeed "sprang from the same source," and ultimately arrive at the same place: Beauty and Truth.

James McIntosh Patrick, "Boreland Mill, Kirkmichael" (1950)

A hototogisu.  Followed by a nightingale.  And now the goddess Echo had appeared, drawing me further on:

High up the mountain-meadow, Echo with never a tongue

Sings back to each bird in answer the song each bird hath sung.

Satyrus (1st Century B.C. -- 1st Century A.D.) (translated by F. L. Lucas), in Lucas, Greek Poetry for Everyman (J. M. Dent & Sons 1951), page 358.

A bit later on my wanderings, this came to mind:

Nought to the far-off Hades but an empty echo cries.

There, mid the dead, is silence.  My voice in the darkness dies.

Erinna (mid-4th Century B.C.) (translated by F. Lucas).   Ibid, page 279.  Erinna is "said to have died at nineteen, but ranked with Sappho by some ancient judgments, though little of her work survives.  Her chief poem was a lament, The Distaff, for her dead girl-friend Baucis."  Ibid, page 279.

James McIntosh Patrick, "City Garden" (1979)

Finally, my frolic and detour came to an end when the following poem arrived, unaccountably, from somewhere.  (Although there is a connection with Walter de la Mare.)

               At Common Dawn

At common dawn there is a voice of bird

So sweet, 'tis kin to pain;

For love of earthly life it needs be heard,

And lets not sleep again.

This bird I did one time at midnight hear

In wet November wood

Say to himself his lyric faint and clear

As one at daybreak should.

He ceased; the covert breathed no other sound,

Nor moody answer made;

But all the world at beauty's worship found,

Was waking in the glade.

Vivian Locke Ellis (1878-1950), in Walter de la Mare (editor), Come Hither: A Collection of Rhymes and Poems for the Young of All Ages (Constable & Co. 1923), page 360.

[Postscript.  Please accept my apologies for the long absence, dear readers.  Writing this post, I realized how much I have missed being here.  Thank you for your patience.]

James McIntosh Patrick, "A Castle in Scotland"

Suddenly

Over a lifetime, I have failed to give the moon the attention it deserves.  But it is patient and forgiving, despite my faithlessness. Thus, in the first week of this month, as I was out walking at twilight, I happened to glance towards the vanishing sunset, and there it was: a brilliant and pristine white crescent moon, a third of the way up the darkening, but still powder blue, southwestern sky.  How shall I describe that whiteness, that thin curve of radiance set amidst pale blue?  I'm afraid I have no words.  Now, as then, I'm left speechless.

I have been visiting Bashō's haiku in December and January.  A few weeks before my encounter with the newly-born crescent moon, I came across this:

Unlike anything

it has been compared to:

the third-day moon.

Bashō (1644-1694) (translated by Makoto Ueda), in Makoto Ueda (editor), Bashō and His Interpreters: Selected Hokku with Commentary (Stanford University Press 1991), page 207.  

The Japanese phrase for the first phase of the waxing crescent moon is mika no tsuki: "third-day moon."  Mika means "third day"; tsuki means "moon"; no is a particle meaning (roughly) "of."  Bashō included this headnote to the haiku: "The third day of the month." Ibid.  Ueda provides this comment: "Since olden times the crescent moon had been compared to a great many things, including a sickle, a bow, a comb, a boat, and a woman's eyebrow."  Ibid.  Bashō is absolutely correct: words are not adequate.

As so often happens with poetry, serendipity: a poem appears, and, soon after, the beautiful particulars of the World arrive, echoing it. Or vice versa.  In addition, this comes to mind:

                                     Night

That shining moon -- watched by that one faint star:

Sure now am I, beyond the fear of change,

The lovely in life is the familiar, 

And only the lovelier for continuing strange.

Walter de la Mare, Memory and Other Poems (Constable 1938).

Dudley Holland (1915-1956), "Winter Morning" (1945)

"The lovely in life is the familiar,/And only the lovelier for continuing strange" is paired in my mind with these lines from de la Mare's "Now," which appears in his final collection of poems: "Now is the all-sufficing all/Wherein to love the lovely well,/Whate'er befall." (The italics appear in the original text.)  Stumbling across the beauty of the crescent moon early this month brought home the importance of "now": a reproach to my usual state of sleepwalking.  And the serene power and charm of that beauty had an element of strangeness to it: the moon seemed impossibly lovely, beyond one's ken.

But there was something else at work as well.  The suddenness of that beauty's arrival -- as I absent-mindedly looked skyward -- startled me, took me aback, and leaves me speechless still.  Words such as "miraculous" or "revelatory" float to the surface.  But I shall restrain myself.  Relying on the circumspect William James in his final conclusions on mysticism, I will leave it at this: "higher energies filter in."  (William James, The Varieties of Religious Experience: A Study in Human Nature (Longmans, Green and Co. 1902), page 519.)

Best to turn to a poem:

                         The Elm

This is the place where Dorothea smiled.

I did not know the reason, nor did she.

But there she stood, and turned, and smiled at me:

A sudden glory had bewitched the child.

The corn at harvest, and a single tree.

This is the place where Dorothea smiled.

Hilaire Belloc, Sonnets and Verse (Duckworth 1938).

Belloc's poem, and the phrase "a sudden glory" in particular, bring this to mind:

       Sudden Heaven

All was as it had ever been --

The worn familiar book,

The oak beyond the hawthorn seen,

The misty woodland's look:

The starling perched upon the tree

With his long tress of straw --

When suddenly heaven blazed on me,

And suddenly I saw:

Saw all as it would ever be,

In bliss too great to tell;

Forever safe, forever free,

All bright with miracle:

Saw as in heaven the thorn arrayed,

The tree beside the door;

And I must die -- but O my shade

Shall dwell there evermore.

Ruth Pitter (1897-1992), in Don King (editor), Sudden Heaven: The Collected Poems of Ruth Pitter (Kent State University Press 2018), page 106.  The poem was written in 1931.  Ibid, page 106

Paul Ayshford Methuen (1886-1974)

"Magnolia Soulangiana at Corsham" (c. 1963)

While I was out on my daily walk last week, a few hundred feet in front of me a dark bird with a wide wingspan flew slowly away, just above a grove of pines beside the road.  The bird banked to the left, and settled on a branch near the top of a pine.  Given the size of the bird's wings, I suspected, and hoped, that it was a bald eagle.  But I couldn't be sure from that distance: it could have been a hawk, an owl, or even a large crow.  I assumed it would be gone by the time I reached the pine. 

But, when I arrived and looked up, there it was: a bald eagle perched on a high branch, surveying the territory.  Encountering a bald eagle is not a rare occurrence in this part of the world, but I never cease to be amazed -- and grateful -- when I cross paths with one of them. I never tire of (or get over) those penetrating, unflinching eyes.  Or the sharp curve of that deep-yellow beak, unlike any other hue of yellow. Or the cry that now and then comes from the sky as one of them circles slowly overhead.

               Arrival

Not conscious

       that you have been seeking

              suddenly

       you come upon it

the village in the Welsh hills

              dust free

       with no road out

but the one you came in by.

              A bird chimes

       from a green tree

the hour that is no hour

       you know.  The river dawdles

to hold a mirror for you

where you may see yourself

       as you are, a traveller

               with the moon's halo

       above him, who has arrived

       after long journeying where he

               began, catching this

       one truth by surprise

that there is everything to look forward to.

R. S. Thomas, Later Poems (Macmillan 1983).

R. S. Thomas' poems can be spare and acerbic, especially when his subject is the modern world.  But there is no shortage of beauty.  The heart of his poetry is his lifelong attendance upon the silence of God, as he makes his way through our short time in Paradise (Wales, in Thomas' case).  At times there is a note of complaint, the merest hint of a doubt.  But withal he is patient.  He is often rewarded.

               The Bright Field

I have seen the sun break through

to illuminate a small field

for a while, and gone my way

and forgotten it.  But that was the pearl

of great price, the one field that had

the treasure in it.  I realize now

that I must give all that I have

to possess it.  Life is not hurrying

on to a receding future, nor hankering after

an imagined past.  It is the turning

aside like Moses to the miracle

of the lit bush, to a brightness

that seemed as transitory as your youth

once, but is the eternity that awaits you.

R. S. Thomas, Laboratories of the Spirit (Macmillan 1975).

Ian Grant (1904-1993), "Cheshire Mill" (1939)

The beautiful particulars of the World often arrive unexpectedly and unaccountably at our doorstep, or we at theirs.  Suddenly.  There is no planning involved, nor itinerary to be followed.  We simply need to pay attention.  (So says an inveterate sleepwalker.)  And never cease to be grateful.

To a mountain village

   at nightfall on a spring day

      I came and saw this:

blossoms scattering on echoes

   from the vespers bell.

Nōin (988-1050) (translated by Steven Carter), in Steven Carter (editor), Traditional Japanese Poetry: An Anthology (Stanford University Press 1991), page 134.

James Cowie (1886-1956), "Pastoral" (c. 1938)