Showing posts with label Poetry. Show all posts
Showing posts with label Poetry. Show all posts

Saturday, June 21, 2025

Mary Ruth

 de la mare 

listeners

The Listeners

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‘Is there anybody there?’ said the Traveller,
   Knocking on the moonlit door;
And his horse in the silence champed the grasses
   Of the forest’s ferny floor:
And a bird flew up out of the turret,
   Above the Traveller’s head:
And he smote upon the door again a second time;
   ‘Is there anybody there?’ he said.
But no one descended to the Traveller;
   No head from the leaf-fringed sill
Leaned over and looked into his grey eyes,
   Where he stood perplexed and still.
But only a host of phantom listeners
   That dwelt in the lone house then
Stood listening in the quiet of the moonlight
   To that voice from the world of men:
Stood thronging the faint moonbeams on the dark stair,
   That goes down to the empty hall,
Hearkening in an air stirred and shaken
   By the lonely Traveller’s call.
And he felt in his heart their strangeness,
   Their stillness answering his cry,
While his horse moved, cropping the dark turf,
   ’Neath the starred and leafy sky;
For he suddenly smote on the door, even
   Louder, and lifted his head:—
‘Tell them I came, and no one answered,
   That I kept my word,’ he said.
Never the least stir made the listeners,
   Though every word he spake
Fell echoing through the shadowiness of the still house
   From the one man left awake:
Ay, they heard his foot upon the stirrup,
   And the sound of iron on stone,
And how the silence surged softly backward,
   When the plunging hoofs were gone.

Friday, May 30, 2025

POETIC MIND

British Museum
Illustration to Young's Night Thoughts

redintegrated

Imagination

The Poetic Mind: Blake, Wordsworth and Coleridge on the Imagination 
Alexandra Kulik 
Lake Forest College

"The power of the poetic mind, the imaginative capacity to transcend falsely devised metaphysical perimeters and actually exist in a reality professedly pure and redintegrated, assumes that the poet's mode of being-in-the-world is quite distinct from the common (i.e. “passive” and “careless”) perceiver. Imagination is a form of vitally active creativity which is, if not in itself a direct work of God, as Blake sees it, then at least a similitude of divine creation." page 85

Harold Bloom writes, “[t]he visible body of Nature is more than an outer testimony of the Spirit of God to him; it is our only way to God. […] Ordinary perception is then a mode of salvation… provided that we are awake fully to what we see” (124). page 87

What distinguishes the poetic mind from ordinary consciousness is a matter of admitting a sort of transcendental continuity to otherwise disconnected objects in the world. The poet's vision sees every object in nature as a symbol of some spiritual truth, some representation of an aspect of universal humanity. page 87

Wordsworth's imagination, in retaining the spirit of childhood and the “spots of time” which engender a perpetually “blessed mood” (“Tintern” 37), is directed invariably at the recognition of Universal Being in all things. Ultimately, it is pointed toward the same Blakean apocalyptic vision which fuses all “discordant elements” (Prelude 1.343): the transcendental obliteration of all distinction and limitation into absolute unity. page 88

Coleridge -  It is the same function which makes the poet conscious of universality-in-particularity, of infinity in apparent finitude, and of the underlying unity of opposites.

[That too is thou. Campbell]

We have seen that the poetic mind is not at all foremost involved in creating flights of clever verse, but in uncovering reality's equally immanent and transcendent poesy. page 89

Coleridge declares emphatically that the true poet will, once apprehending this higher reality, thereafter employ a language of symbolism—the poet's preeminent device—to convey what only the imagination can unlock: the “translucence of the eternal through and in the temporal” page 89

The imagination as active, transformative power is at bottom a reflection of the divinely creative constitution of Nature, transcending sensual bounds, reconciling apparent contraries, and penetrating the perceptual barriers that obscure intrinsic harmony. As such, the poetic mind not only acts to synthesize itself with Nature, Truth, and God—which are, we have seen, interchangeable signifiers—it simultaneously bridges the gap between art, philosophy, and religion." page 91 

 

Thursday, May 29, 2025

NOTES

 Dec 27, 2024

The body supports the mind

The mind supports the spirit

What does the spirit support


 Dec 27, 2024

The Lark

Milton, Plate 42 [49] (E 143)
"And my sweet Shadow of Delight stood trembling by my side
Immediately the Lark mounted with a loud trill from Felphams Vale"  
_________
Lark=Angel=messenger=emanation=wife
__________
https://blakearchive.org/images/but543.1.2.wc.100.jpg


Milton:   To hear the Lark begin his flight
              And singing startle the dull Night
              From his Watch Tower in the Skies
              Till the dappled Dawn does rise

Blake:    The Lark is an Angel on the Wing Dull Night starts from his
Watch Tower on a Cloud.  The Dawn with her dappled Horses arises
above the Earth   The Earth beneath awakes at the Larks Voice
Milton, Plate 15 [17], (E 109)
"But to himself he seemd a wanderer lost in dreary night.
Onwards his Shadow kept its course among the Spectres; call'd
Satan, but swift as lightning passing them, startled the shades
Of Hell beheld him in a trail of light as of a comet
That travels into Chaos: so Milton went guarded within." 

L'Allegro

"Come, and trip it as ye go
On the light fantastic toe,
And in thy right hand lead with thee,
The mountain-nymph, sweet Liberty;
And if I give thee honour due,
Mirth, admit me of thy crew
To live with her, and live with thee,
In unreproved pleasures free;
To hear the lark begin his flight,
And singing startle the dull night,
From his watch-tower in the skies,
Till the dappled dawn doth rise;
Then to come in spite of sorrow,
And at my window bid good-morrow,
Through the sweet-briar, or the vine,
Or the twisted eglantine;
While the cock with lively din,
Scatters the rear of darkness thin,
And to the stack, or the barn door,
Stoutly struts his dames before;
Oft list'ning how the hounds and horn
Cheerly rouse the slumb'ring morn,
From the side of some hoar hill,
Through the high wood echoing shrill.
Sometime walking, not unseen,
By hedge-row elms, on hillocks green,
Right against the eastern gate,
Where the great Sun begins his state,
Rob'd in flames, and amber light,
The clouds in thousand liveries dight.
While the ploughman near at hand,
Whistles o'er the furrow'd land,
And the milkmaid singeth blithe,
And the mower whets his scythe,
And every shepherd tells his tale
Under the hawthorn in the dale.
Straight mine eye hath caught new pleasures
Whilst the landskip round it measures,
Russet lawns, and fallows gray,
Where the nibbling flocks do stray;
Mountains on whose barren breast
The labouring clouds do often rest;
Meadows trim with daisies pied,
Shallow brooks, and rivers wide.
Towers, and battlements it sees
Bosom'd high in tufted trees,
Where perhaps some beauty lies,
The cynosure of neighbouring eyes.
Hard by, a cottage chimney smokes,
From betwixt two aged oaks,
Where Corydon and Thyrsis met,
Are at their savoury dinner set
Of herbs, and other country messes,
Which the neat-handed Phyllis dresses;
And then in haste her bow'r she leaves,
With Thestylis to bind the sheaves;
Or if the earlier season lead
To the tann'd haycock in the mead.
Sometimes with secure delight
The upland hamlets will invite,
When the merry bells ring round,
And the jocund rebecks sound
To many a youth, and many a maid,
Dancing in the chequer'd shade;
And young and old come forth to play
On a sunshine holiday,
Till the live-long daylight fail;
Then to the spicy nut-brown ale,
With stories told of many a feat,
How Faery Mab the junkets eat,
She was pinch'd and pull'd she said,
And he by friar's lanthorn led,
Tells how the drudging goblin sweat,
To earn his cream-bowl duly set,
When in one night, ere glimpse of morn,
His shadowy flail hath thresh'd the corn
That ten day-labourers could not end;
Then lies him down, the lubber fiend,
And stretch'd out all the chimney's length,
Basks at the fire his hairy strength;
And crop-full out of doors he flings,
Ere the first cock his matin rings.
Thus done the tales, to bed they creep,
By whispering winds soon lull'd asleep.
Tower'd cities please us then,
And the busy hum of men,
Where throngs of knights and barons bold,
In weeds of peace high triumphs hold,
With store of ladies, whose bright eyes
Rain influence, and judge the prize
Of wit, or arms, while both contend
To win her grace, whom all commend.
There let Hymen oft appear
In saffron robe, with taper clear,
And pomp, and feast, and revelry,
With mask, and antique pageantry;
Such sights as youthful poets dream
On summer eves by haunted stream.
Then to the well-trod stage anon,
If Jonson's learned sock be on,
Or sweetest Shakespeare, Fancy's child,
Warble his native wood-notes wild.
And ever against eating cares,
Lap me in soft Lydian airs,
Married to immortal verse,"