Finding

It is not about going on a particular night in the knowledge of finding a foal;
it is the chance of it, the perhaps – the making of time to try.
The struggling up at three in the morning in the strangeness of the dark
to get ready in soft voices; the going out into the fields on padded feet,
no longer worrying about what tasks have been completed, which left undone.
It is about walking together leaving silvery trails, uneven, through long lush grass;
about coming at last to the place where you hoped it might happen,
for some things are not certain – in this world where almost everything
is written down and long decided – and always it has been that way.
This water meadow where there is always scent of something not quite known;
a bowl made of low hills and round it the ancient trees held in the still dark.
However many yards away the foal already trying to hobble onto legs ridiculously big,
and she pouring into him all the love that she possesses.
Unselfconsciously and with reverence
it is about kneeling in the long wet grass to watch, to wonder.

--Kenneth Steven, Scots poet, from Iona: New and Selected Poems (Paraclete Poetry).

Valentine for Ernest Mann

You can’t order a poem like you order a taco.
Walk up to the counter, say, “I’ll take two”
and expect it to be handed back to you
on a shiny plate.

Still, I like your spirit.
Anyone who says, “Here’s my address,
write me a poem,” deserves something in reply.
So I’ll tell a secret instead:
poems hide. In the bottoms of our shoes,
they are sleeping. They are the shadows
drifting across our ceilings the moment
before we wake up. What we have to do
is live in a way that lets us find them.

Once I knew a man who gave his wife
two skunks for a valentine.
He couldn’t understand why she was crying.
“I thought they had such beautiful eyes.”
And he was serious. He was a serious man
who lived in a serious way. Nothing was ugly
just because the world said so. He really
liked those skunks. So, he re-invented them
as valentines and they became beautiful.
At least, to him. And the poems that had been hiding
in the eyes of skunks for centuries
crawled out and curled up at his feet.

Maybe if we re-invent whatever our lives give us
we find poems. Check your garage, the odd sock
in your drawer, the person you almost like, but not quite.
And let me know.

-- Naomi Shihab Nye (1952- ), Ferguson-born Palestinian American poet

now all the fingers of this tree(darling)have

now all the fingers of this tree(darling)have

hands, and all the hands have people; and
more each particular person is(my love)
alive than every world can understand

and now you are and i am now and we're
a mystery which will never happen again,
a miracle which has never happened before–
and shining this our now must come to then

our then shall be some darkness during which
fingers are without hands; and i have no
you: and all trees are(any more than each
leafless)its silent in forevering snow

—but never fear(my own, my beautiful
my blossoming)for also then's until

-- e. e. Cummings, (1894-1962), American poet, from 100 Poems

The Idea of Order at Key West

She sang beyond the genius of the sea.
The water never formed to mind or voice,
Like a body wholly body, fluttering
Its empty sleeves; and yet its mimic motion
Made constant cry, caused constantly a cry,
That was not ours although we understood,
Inhuman, of the veritable ocean. 

The sea was not a mask. No more was she.
The song and water were not medleyed sound
Even if what she sang was what she heard,
Since what she sang was uttered word by word.
It may be that in all her phrases stirred
The grinding water and the gasping wind;
But it was she and not the sea we heard. 

For she was the maker of the song she sang.
The ever-hooded, tragic-gestured sea
Was merely a place by which she walked to sing.
It was the spirit that we sought and knew
That we should ask this often as she sang.

If it was only the dark voice of the sea
That rose, or even colored by many waves;
If it was only the outer voice of sky
And cloud, of the sunken coral water-walled,
However clear, it would have been deep air,
The heaving speech of air, a summer sound
Repeated in a summer without end
And sound alone. But it was more than that,
More even than her voice, and ours, among
The meaningless plungings of water and the wind,
Theatrical distances, bronze shadows heaped
On high horizons, mountainous atmospheres
Of sky and sea. 

                            It was her voice that made
The sky acutest at its vanishing.
She measured to the hour it solitude.
She was the single artificer of the world
In which she sang. And when she sang, the sea,
Whatever self it had, became the self
That was her song, for she was the maker. Then we,
As we beheld her striding there alone,
Knew that there never was a world for her
Except the one she sang and, singing, made.

Ramon Fernandez, tell me, if you know,
Why, when the singing ended and we turned
Toward the town, tell why the glassy lights,
The lights in the fishing boats at anchor there,
As the night descended, tilting in the air,
Mastered the night and portioned out the sea,
Fixing emblazoned zones and fiery poles,
Arranging, deepening, enchanting night.

Oh! Blessed rage for order, pale Ramon,
The maker’s rage to order words of the sea,
Words of the fragrant portals, dimly-starred,
And of ourselves and of our origins,
in ghostlier demarcations, keener sounds.


-- Wallace Stevens (1879-1955), American lawyer, businessman, and poet

The House Was Quiet and the World Was Calm

The house was quiet and the world was calm.
The reader became the book; and summer night

Was like the conscious being of the book.
The house was quiet and the world was calm.

The words were spoken as if there was no book,
Except that the reader learned above the page,

Wanted to lean, wanted much most to be
The scholar to whom his book is true, to whom

The summer night is like a perfection of thought.
The house was quiet because it had to be.

The quiet was part of the meaning, part of the mind:
The access of perfection to the page.

And the world was calm. The truth in a calm world,
In which there is no other meaning, itself

Is calm, itself is summer and night, itself
Is the reader leaning late and reading there.


-- Wallace Stevens (1879-1955), American lawyer, businessman, and poet

Peter Quince at the Clavier

               I

Just as my fingers on these keys
Make music, so the selfsame sounds
On my spirit make a music, too.

Music is feeling, then, not sound;
And thus it is that what I feel,
Here in this room, desiring you,

Thinking of your blue-shadowed silk,
Is music. It is like the strain
Waked in the elders by Susanna.

Of a green evening, clear and warm,
She bathed in her still garden, while
The red-eyed elders watching, felt

The basses of their beings throb
In witching chords, and their thin blood
Pulse pizziccati of Hosanna.


               II

In the green water, clear and warm,
Susannah lay.
She searched
The touch of springs,
And found
Concealed imaginings.
She sighed,
For so much melody.

Upon the bank, she stood
In the cool
Of spent emotions.
She felt, among the leaves,
The dew
Of old devotions.

She walked up on the grass,
Still quavering,
The winds were like her maids,
On timid feet,
Fetching her woven scarves,
Yet wavering.

A breath upon her hand
Muted the night.
She turned –
A cymbal crashed,
And roaring horns.


               III

Soon, with a noise like tambourines,
Came her attendant Byzantines.

They wondered why Susanna cried
Against the elders by her side;

And as they whispered, the refrain
Was like a willow swept by rain.

Anon, their lamps uplifted flame
Revealed Susanna and her shame.

And then, the simpering Byzantines
Fled, with a noise like tambourines.


               IV

Beauty is momentary in the mind –
The fitful tracing of a portal;
But in the flesh it is immortal.

The body dies; the body's beauty lives.
So evenings die, in their green going,
A wave, interminably flowing.
So gardens die, their meek breath scenting
The cowl of winter, done repenting.
So maidens die, to the auroral
Celebration of a maiden’s choral.

Susanna's music touched the bawdy strings
Of those white elders; but, escaping,
Left only Death's ironic scraping.
Now, in its immortality, it plays
On the clear viol of her memory,
And makes a constant sacrament of praise.


-- Wallace Stevens (1879-1955), American lawyer, businessman, and poet


Scriptural reference: Susannah 1:1-64 (Daniel 13)

Saints Bowing in the Mountains

Do you know how beautiful you are? 

I think not, my dear.

For as you talk of God,
I see great parades with wildly colorful bands 

Streaming from your mind and heart, 

Carrying wonderful and secret messages
To every corner of this world.

I see saints bowing in the mountains 

Hundreds of miles away
To the wonder of sounds
That break into light

From your most common words.

Speak to me of your mother, 

Your cousins and your friends.

Tell me of squirrels and birds you know. 

Awaken your legion of nightingales - 

Let them soar wild and free in the sky

And begin to sing to God. 

Let's all begin to sing to God!

Do you know how beautiful you are? 

I think not, my dear,

Yet Hafiz
Could set you upon a Stage 

And worship you forever!

--Hafiz of Shiraz (1310-1390), one of the greatest Persian lyric poets

Sonnet I

From fairest creatures we desire increase,
That thereby beauty's rose might never die,
But as the riper should by time decease,
His tender heir might bear his memory: 
But thou contracted to thine own bright eyes,
Feed'st thy light's flame with self-substantial fuel,
Making a famine where abundance lies,
Thy self thy foe, to thy sweet self too cruel:
Thou that art now the world's fresh ornament,
And only herald to the gaudy spring,
Within thine own bud buriest thy content,
And, tender churl, mak'st waste in niggarding:
     Pity the world, or else this glutton be,
     To eat the world's due, by the grave and thee.

--William Shakespeare (1564-1616), pre-eminent English playwright, poet, and actor

For excellent commentary on this sonnet, click here.


To hear and see Sir Patrick Stewart read this sonnet aloud while isolating during the COVID-19 pandemic, click here.

Be

Lost 
On a painted sky 
Where the clouds are hung 
For the poet's eye 
You may find him 
If you may find him 

There 
On a distant shore 
By the wings of dreams 
Through an open door 
You may know him 
If you may 

Be 
As a page that aches for words 
Which speaks on a theme that's timeless 
While the One God will make for your day 
Sing 
As a song in search of a voice that is silent 
And the Sun God will make for your way 

And we dance 
To a whispered voice 
Overheard by the soul 
Undertook by the heart 
And you may know it 
If you may know it 

While the sand 
Would become the stone 
Which begat the spark 
Turned to living bone 
Holy, holy 
Sanctus, sanctus 

Be 
As a page that aches for word 
Which speaks on a theme that is timeless 
While the One God will make for your day 

Sing 
As a song in search of a voice that is silent 
And the One God will make for your day

-- Neil Diamond (1941- ), American singer-songwriter, from the Grammy-Award winning soundtrack to the movie Jonathan Livingston Seagull, 1973

(When I was 9, my mother took me to see this movie, and this song and scene left a very deep impression on me. This remains one of my favorite Neil Diamond songs of all time, and the lyrics are beautiful.)

A Minor Bird

I have wished a bird would fly away, 
And not sing by my house all day; 

Have clapped my hands at him from the door 
When it seemed as if I could bear no more. 

The fault must partly have been in me. 
The bird was not to blame for his key. 

And of course there must be something wrong 
In wanting to silence any song.

--Robert Frost (1875-1963), American poet



Photo: Picture of a cuckoo singing from Pinterest

Eagle Poem

To pray you open your whole self
To sky, to earth, to sun, to moon
To one whole voice that is you.
And know there is more
That you can’t see, can’t hear;
Can’t know except in moments
Steadily growing, and in languages
That aren’t always sound but other
Circles of motion.
Like eagle that Sunday morning
Over Salt River. Circled in blue sky
In wind, swept our hearts clean
With sacred wings.
We see you, see ourselves and know
That we must take the utmost care
And kindness in all things.
Breathe in, knowing we are made of
All this, and breathe, knowing
We are truly blessed because we
Were born, and die soon within a
True circle of motion,
Like eagle rounding out the morning
Inside us.
We pray that it will be done
In beauty.
In beauty.

--Joy Harjo (1951- ), Muscogee (Creek) American, named US Poet Laureate today, from Mad Love and War, 1990



Photo of a Golden Eagle in Flight from the US Geological Survey.

Spring

Nothing is so beautiful as Spring –
   When weeds, in wheels, shoot long and lovely and lush;
   Thrush’s eggs look little low heavens, and thrush
Through the echoing timber does so rinse and wring
The ear, it strikes like lightnings to hear him sing;
   The glassy peartree leaves and blooms, they brush
   The descending blue; that blue is all in a rush
With richness; the racing lambs too have fair their fling.

What is all this juice and all this joy?
   A strain of the earth’s sweet being in the beginning 
In Eden garden. – Have, get, before it cloy,
   Before it cloud, Christ, lord, and sour with sinning,
Innocent mind and Mayday in girl and boy,
   Most, O maid’s child, thy choice and worthy the winning.

--Gerard Manley Hopkins (1844-1889), English poet and Jesuit priest

Arran of the many stags,

the sea strikes against its shoulder,

isle in which companies are fed,

ridge on which blue spears are reddened.

skittish deer are on her peaks,

delicious berries on her manes,

cool water in her rivers,

mast upon her dun oaks.

Greyhounds are in it and beagles,

blackberries and sloes of the dark blackthorn,

her dwellings close against the woods,

deer scattered about her oak-woods,

gleaning of purple upon her rocks,

faultless grass upon her slopes

over her fair shapely crags

noise of dappled fawns a-skipping.

Smooth is her level land,

fat are her swine,

bright are her fields,

her nuts upon the tops of her hazel-wood,

long galleys sailing past her.

Delightful it is when the fair season comes,

trout under the brinks of her rivers,

seagulls answer each other round her white cliff,

delightful at all times is Arran!

—ancient Gaelic, anonymous, from Celtic Nature Prayers Volume 1: Prayers from an Ancient Well, ed. by Kenneth McIntosh



Image: The Milky Way over Arran and the Holy Isle, from the Daily Record

Annunciation as Fender's Blue Butterfly with Kincaid's Lupine

The endangered Fender’s blue butterfly

associates, not with common lupines,

but with the very rare Kincaid’s lupine.

—NATIVE PLANT SOCIETY OF OREGON

But if I were this thing,
my mind a thousand times smaller than my wings,

if my fluorescent blue flutter
finally stumbled

into the soft
aqua throats of the blossoms,

if I lost my hunger
for anything else

I’d do the same. I’d fasten myself
to the touch of the flower.

So what if the milky rims of my wings
no longer stupefied

the sky? If I could
bind myself to this moment, to the slow

snare of its scent,
what would it matter if I became

just the flutter of page
in a text someone turns

to examine me
in the wrong color?

-- Mary Szybist (1970- ), from Incarnadine, 2013 (National Book Award winner)

Images: top, from Oregon State University, pair of Fender's blue butterflies on Kincaid's Lupine; bottom, photo by Dana Ross, published by the Xerces Society. Fender's Blue butterfly is endangered; its habutat now consists of two small pockets of prairie in the Willamette Valley in Oregon that has the lupine on which it lays its eggs excusively.

The Beautiful Changes

One wading a Fall meadow finds on all sides
The Queen Anne’s Lace lying like lilies
On water; it glides
So from the walker, it turns
Dry grass to a lake, as the slightest shade of you
Valleys my mind in fabulous blue Lucernes.

The beautiful changes as a forest is changed
By a chameleon’s tuning his skin to it;
As a mantis, arranged
On a green leaf, grows
Into it, makes the leaf leafier, and proves
Any greenness is deeper than anyone knows.

Your hands hold roses always in a way that says
They are not only yours; the beautiful changes
In such kind ways,
Wishing ever to sunder
Things and things’ selves for a second finding, to lose
For a moment all that it touches back to wonder.

--Richard Wilbur (1921-2017), US poet laureate 1987-1988, from Collected Poems 1943-2004

Sonnet 18: Shall I compare thee to a summer's day?

Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance or nature's changing course untrimm'd;
But thy eternal summer shall not fade
Nor lose possession of that fair thou owest;
Nor shall Death brag thou wander'st in his shade,
When in eternal lines to time thou growest:
     So long as men can breathe or eyes can see,
     So long lives this and this gives life to thee.

--William Shakespeare (1564-1616)

Endymion (A Thing of Beauty is a Joy Forever)

A thing of beauty is a joy for ever:
Its loveliness increases; it will never
Pass into nothingness; but still will keep
A bower quiet for us, and a sleep
Full of sweet dreams, and health, and quiet breathing.
Therefore, on every morrow, are we wreathing
A flowery band to bind us to the earth,
Spite of despondence, of the inhuman dearth
Of noble natures, of the gloomy days,
Of all the unhealthy and o'er-darkened ways
Made for our searching: yes, in spite of all,
Some shape of beauty moves away the pall
From our dark spirits. Such the sun, the moon,
Trees old, and young, sprouting a shady boon
For simple sheep; and such are daffodils
With the green world they live in; and clear rills
That for themselves a cooling covert make
'Gainst the hot season; the mid-forest brake,
Rich with a sprinkling of fair musk-rose blooms:
And such too is the grandeur of the dooms
We have imagined for the mighty dead;
All lovely tales that we have heard or read:
An endless fountain of immortal drink,
Pouring unto us from the heaven's brink.

--John Keats (1795-1821)