Loveliest of Trees

Loveliest of trees, the cherry now
Is hung with bloom along the bough,
And stands about the woodland ride
Wearing white for Eastertide.

Now, of my threescore years and ten,
Twenty will not come again,
And take from seventy springs a score,
It only leaves me fifty more.

And since to look at things in bloom
Fifty springs are little room,
About the woodlands I will go
To see the cherry hung with snow.

--A. E. Housman (1859-1936), British poet and professor

Dame Judi Dench recites this poem here:

Metamorphosis

Always it happens when we are not there —
The tree leaps up alive in the air,
Small open parasols of Chinese green
Wave on each twig. But who has ever seen
The latch sprung, the bud as it burst?
Spring always manages to get there first.

Lovers of wind, who will have been aware
Of a faint stirring in the empty air,
Look up one day through a dissolving screen
To find no star, but this multiplied green,
Shadow on shadow, singing sweet and clear.
Listen, lovers of wind, the leaves are here!

-- May Sarton (1912-1995), Belgian- American writer, memoirist, and poet

The Agony & The Garden

 

i.
Now all he dreams are ropes,
sees them in the trees at the beginning of
the world: grim slide of vines
through first light
throat-tails dangled, mother-arms,
an instinct of the hand to twist, like a heart,
around what it holds.

ii.
Half his heart is a campfire.
Father, he begins, father,—
He stands there and the black gears of night lurch
through sand. On the other side of the hill olive trees
descend into questions, into women, into merchants,
into emperor flesh, into pottery, into bread, into a child’s
mouth, into a waltz, into the printing press, into thermometers,
into sighing gardens, into motion pictures, into
glass, into bedposts, into soup, into car exhaust, into rain,
into glaciers, into unread letters, into ATMs.

Father, the wind. The ordinary life.

iii.
He does not understand women,
was given no glimpse or direction. He only
knows the world unfolds from their robes the way
wine spills from a cup.

He knows they sometimes take the form of angels,
and they will take the bruised form of saints,
and celestial bodies,
they are like long roads, the hushed underneck
of a swan, and they reach, wanting
to know you, palms uncoiling
past
you in ecstasy.

iv.
It’s the nightmare again in which his feet
are splinters, and his mother is gasping,
and his face peels off onto linen,
and his father watches him from a night tree,
and there is some great secret he must shove
up the hill, to the sky,
where he is loved, loved
only by thieves.

v.
The world lights a broken man.
And the apparition he sweats beside,
realized into angel, into lamp, how it
bears him as the soldiers push
their way through blackness, through
the olives, thistle, and his dark-eyed heart,
a dinghy tossed in another life’s dream.
Far rain on the ocean, where a father is nowhere
to be found. If grace is the fixed star
we long for, the good disciples must sleep their parts,
hands folded on their hearts like oak
doors. Somewhere at the hillfoot the crossmaker
is roping beams in his shop’s
half-light. So they come and they come
in their armor, mirroring moonlight.
Now the moon opens on his heel.
The moon is the scent of a shy girl’s letter.
When they stand, and they stand, her feather tips
brush the wall.


-- Eve Jones, poet, photographer, former instructor at Lindenwood University, from Dappled Things journal.

Scripture reference: Matthew 26:31-41; Mark 14:27-37; (The Passion Liturgy, years A and B)

Image: Christ on the Mount of Olives, Paul Gauguin, 1889

Oratorio: Christ on the Mount of Olives, Op. 85, Ludwig van Beethoven, UC Davis Symphony Orchestra and Chorus

 

Palm Sunday

And He answered and said unto them, I tell you, that if these should hold their peace, the stones would immediately cry out. St. Luke xix. 40.

YE whose hearts are beating high 

With the pulse of Poesy,
Heirs of more than royal race,
Fram’d by Heaven’s peculiar grace,
God’s own work to do on earth,
(If the word be not too bold,)
Giving virtue a new birth,
And a life that ne’er grows old—

Sovereign masters of all hearts!
Know ye, who hath set your parts?
He who gave you breath to sing,
By whose strength ye sweep the string,
He hath chosen you, to lead
His Hosannas here below;—
Mount, and claim your glorious meed;
Linger not with sin and woe.

But if ye should hold your peace,
Deem not that the song would cease—
Angels round his glory-throne,
Stars, His guiding hand that own,
Flowers, that grow beneath our feet,
Stones in earth’s dark womb that rest,
High and low in choir shall meet,
Ere His Name shall be unblest.

Lord, by every minstrel tongue
Be thy praise so duly sung,
That thine angels’ harps may ne’er
Fail to find fit echoing here:
We the while, of meaner birth,
Who in that divinest spell
Dare not hope to join on earth,
Give us grace to listen well.

But should thankless silence seal
Lips, that might half Heaven reveal,
Should bards in idol-hymns profane
The sacred soul-enthralling strain,
(As in this bad world below
Nobles things find vilest using,)
Then, thy power and mercy shew,
In vile things noble breath infusing;

Then waken into sound divine
The very pavement of thy shrine,
Till we, like Heaven’s star-sprinkled floor,
Faintly give back what we adore.
Childlike though the voices be,
And untunable the parts,
Thou wilt own the minstrelsy,
If it flow from childlike hearts.


--John Keble (1792-1866), English Anglican priest and poet, one of the leaders of the Oxford movement, from The Christian Year.

Don't Call Me a Stranger: The Cry of a Migrant

Don’t call me a stranger:
the language I speak sounds different
but the feelings it expresses are the same.

Don’t call me a stranger:
I need to communicate,
especially when language is not understood.

Don’t call me a stranger:
I need to be together,
especially when loneliness cools my heart.

Don’t call me a stranger:
I need to feel at home,
especially when mine is very far away from yours.

Don’t call me a stranger:
I need a family because mine I’ve
left to work for yours.

Don’t call me a stranger:
the soil we step on is the same
but mine is not ‘the promised land’.

Don’t call me a stranger:
the colour of my passport is different
but the colour of our blood is the same.

Don’t call me a stranger:
I toil and struggle in your land
and the sweat of our brows is the same.

Don’t call me a stranger:
borders, we created them
and the separation that results is the same.

Don’t call me a stranger:
I am just your friend
but you do not know it yet.

Don’t call me a stranger:
we cry for justice and peace in different ways
but our God is the same.

Don’t call me a stranger:
Yes! I am a migrant
but our God is the same.

--National Council of the Churches of India, found at Welcoming the Stranger: praying in solidarity with refugees from around the world, part 2: Lent and Easter, by the Jesuit Refugee Service, https://www.jrsuk.net/wp-content/uploads/2016/02/Lent-Prayers-Pack-JRS-UK-2016.pdf

The Isle is Full of Noises

What if, tomorrow, after your coffee

after your Wheaties, while you're buttoning your clothes–
a dove descends and inspects your chimney?
   (What if it doesn't?)
      Expect nothing. Suppose.

What if, while putting your room in order,
after you've stashed every thing where it goes–
you see that your mirror's haloed in foxfire?
   (What if it isn't?)
       Expect nothing. Suppose.

What if, during your smoke on the parkbench,
after your cogitations, before your doze–
who should kiss you but a leftover virgin?
   (What if she doesn't?)
      Expect nothing. Suppose.

What if, suddenly, deep in a bookstore,
a ghost voice comes leap-frogging over the rows–
the voice says, "I love you." It's your father's.
   (What if it isn't?)
       Expect nothing. Suppose.

What if, one evening, watering your bean patch,
kite-caught, you quicken: you know what God knows–
the salt of your tears withers the sproutlings–
   What if it doesn't?
       Suppose. Suppose. Suppose.

-- Sam Hudson, found here: https://www.ronnowpoetry.com/contents/hudson/IsleIsFull.html

Sunday Morning, King's Cambridge

File into yellow candle light, fair choristers of King’s

Lost in the shadowy silence of canopied Renaissance stalls
In blazing glass above the dark glow skies and thrones and wings
Blue, ruby, gold and green between the whiteness of the walls
And with what rich precision the stonework soars and springs
To fountain out a spreading vault – a shower that never falls.

The white of windy Cambridge courts, the cobbles brown and dry,
The gold of plaster Gothic with ivy overgrown,
The apple-red, the silver fronts, the wide green flats and high,
The yellowing elm-trees circled out on islands of their own –
Oh, here behold all colours change that catch the flying sky
To waves of pearly light that heave along the shafted stone.

In far East Anglian churches, the clasped hands lying long
Recumbent on sepulchral slabs or effigied in brass
Buttress with prayer this vaulted roof so white and light and strong
And countless congregations as the generations pass
Join choir and great crowned organ case, in centuries of song
To praise Eternity contained in Time and coloured glass.

--John Betjeman (1906-1984), British poet and writer, UK Poet Laureate from 1972-1984

Image from Wikipedia

From Crossings

On St. Brigid's Day the new life could be entered
By going through her girdle of straw rope
The proper way for men was right leg first
Then right arm and right shoulder, head, then left
Shoulder, arm and leg.
Women drew it down
Over the body and stepped out of it
The open they came into by these moves
Stood opener, hoops came off the world
They could feel the February air
Still soft above their heads and imagine
The limp rope fray and flare like wind-born gleanings
Or an unhindered goldfinch over ploughland.

--Seamus Heaney (1935-2013), Irish poet, translator, teacher, essayist and winner of the Noble Prize for Literature

St. Brigid's Day is February 2.

Questions

Since nothing actually exists except You,
Then why do I keep hearing all this noise?

These magnificent women with their beauty astound me.
Their side-glances, their eyebrows, how does all that work?
What is it?

These palm trees and these tulips, where did they come from?
What purpose do they serve? What are clouds and wind?

We hope for faithfulness and loyalty from people.
But people don't have the faintest idea what loyalty is.

Good rises from good actions, and that is good.
Beyond that, what else do saints and good people say?

I am willing to give up my breath and my life for you,
Even though I don't know the first thing about sacrifice.

The abundant objects of the world mean nothing at all!
But if the wine is free, how could Ghalib hold back.

-- Ghalib (Mirza Beg Asadullah Khan) (1797–1869), Urdu-speaking Indian poet

Highland Mary

Ye banks, and braes, and streams around
         The castle o' Montgomery,
Green be your woods, and fair your flowers,
         Your waters never drumlie!
There Simmer first unfald her robes,
         And there the langest tarry:
For there I took the last Fareweel
         O' my sweet Highland Mary.

How sweetly bloom'd the gay, green birk,
         How rich the hawthorn's blossom;
As underneath their fragrant shade,
         I clasp'd her to my bosom!
The golden Hours, on angel wings,
         Flew o'er me and my Dearie;
For dear to me as light and life
         Was my sweet Highland Mary.

Wi' mony a vow, and lock'd embrace,
         Our parting was fu' tender;
And pledging aft to meet again,
         We tore oursels asunder:
But Oh! fell Death's untimely frost,
         That nipt my Flower sae early!
Now green's the sod, and cauld's the clay,
         That wraps my Highland Mary!

O pale, pale now, those rosy lips,
         I aft hae kiss'd sae fondly!
And clos'd for ay the sparkling glance,
         That dwalt on me sae kindly!
And mouldering now in silent dust,
         That heart that lo'ed me dearly!
But still within my bosom's core
         Shall live my Highland Mary.

--Robert Burns (1759-1796), national poet of Scotland. Today is Burns's birthday, and tonight is Burns' Night. 

This is one of three songs Burns wrote to honor Mary Campbell, whom he loved. It is sung to the tune of "Katherine Ogie." 

The bronze statue above was unveiled on 21 July 1896, the centenary of Burns' death, and made of bronze, was sculpted by David Watson Stephenson. It stands, facing southeast, on a round ashlar pedestal with an octagonal cap and base. It is inscribed Burns Highland Mary.

brae= steep hillside

drumlie=rough and muddy

birk=birch tree