Poetry: March 30, 2022 Issue [#11283] |
This week: Place inspires Poetry! Edited by: eyestar~* More Newsletters By This Editor
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Happy Spring! I am happy to be a guest editor this week. Since I moved to Nova Scotia in September I have been learning about the province and its arts! I recently found some poems about the area and it inspired me to look at PLACE in poetry. Enjoy some Nova Scotia landscapes!
All poetry starts with geography" said Robert Frost.
“A poem like landscape, situates us by translating the abstract world of thought and feeling into a physical language.”
Owen Sheers
“The poet of place,” he writes, “situates himself in place in order to lose himself in it. The poetry of place is actually a poetry of displacement and self-annihilation.” James Galvin
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I enjoy poems about nature and the land as being in natural places or historic places etc do inspire me. I am sure many of us have received an idea or feeling to write about when travelling around dreaming. Whether we directly mention place, the descriptions we give poetically may suggest a certain feeling of place.
What I discovered:
Poetic accounts of place, imagined or real have a long history. Such works as Homer's Odessey, Virgil's poems about farming, Dante"s Inferno, Wordsworth's English Lake District and T.S. Eliot's The Wasteland all use place as a connecting point.
Place can stimulate observation and imagination and has a strong connection to poetry. Haiku has a long history of using nature and place to stir our thoughts on life issues.
Poetry:
can evoke particular places, to inform us of their meanings, and to ground us in them even if we do not know the places.
capture the spirit of place, including its history of human presence, as part of the essence of the poem.
can also address social and environmental issues.
Here are some cool historical examples of poetry where places in Nova Scotia inspired the poets, whether they were from there or not!
It was cool to learn that Henry Wadsworth Longfellow's long poem "Evangeline" was based on Grand Pre, founded by Acadian settlers in 1680. the poem reminded people of when the villagers were expelled by the British between 1755 and 1762! Grand Pre in a National Historic Site associated with Longfellow's poem. There is a statue of Evangeline and a Trail named after it.
Here is the Prologue:
"THIS is the forest primeval. The murmuring pines and the hemlocks,
Bearded with moss, and in garments green, indistinct in the twilight,
Stand like Druids of eld, with voices sad and prophetic,
Stand like harpers hoar, with beards that rest on their bosoms.
Loud from its rocky caverns, the deep-voiced neighboring ocean
Speaks, and in accents disconsolate answers the wail of the forest.
This is the forest primeval; but where are the hearts that beneath it
Leaped like the roe, when he hears in the woodland the voice of the huntsman?
Where is the thatch-roofed village, the home of Acadian farmers --
Men whose lives glided on like rivers that water the woodlands,
Darkened by shadows of earth, but reflecting an image of heaven?
Waste are those pleasant farms, and the farmers forever departed!
Scattered like dust and leaves, when the mighty blasts of October
Seize them, and whirl them aloft, and sprinkle them far o'er the ocean.
Naught but tradition remains of the beautiful village of Grand-Pré.
Ye who believe in affection that hopes, and endures, and is patient,
Ye who believe in the beauty and strength of woman's devotion,
List to the mournful tradition still sung by the pines of the forest;
List to a Tale of Love in Acadie, home of the happy."
"Elizabeth Bishop" spent much of her early childhood living with her grandparents in Great Village, Nova Scotia and wrote several poems about the province. This one is about the iconic Cape Breton Island.
"Out on the high "bird islands," Ciboux and Hertford,
the razorbill auks and the silly-looking puffins all stand
with their backs to the mainland
in solemn, uneven lines along the cliff's brown grass-frayed edge,
while the few sheep pastured there go "Baaa, baaa."
(Sometimes, frightened by aeroplanes, they stampede
and fall over into the sea or onto the rocks.)
The silken water is weaving and weaving,
disappearing under the mist equally in all directions,
lifted and penetrated now and then
by one shag's dripping serpent-neck,
and somewhere the mist incorporates the pulse,
rapid but unurgent, of a motor boat.
The same mist hangs in thin layers
among the valleys and gorges of the mainland
like rotting snow-ice sucked away
almost to spirit; the ghosts of glaciers drift
among those folds and folds of fir: spruce and hackmatack--
dull, dead, deep pea-cock colors,
each riser distinguished from the next
by an irregular nervous saw-tooth edge,
alike, but certain as a stereoscopic view.
The wild road clambers along the brink of the coast.
On it stand occasional small yellow bulldozers,
but without their drivers, because today is Sunday.
The little white churches have been dropped into the matted hills
like lost quartz arrowheads.
The road appears to have been abandoned.
Whatever the landscape had of meaning appears to have been abandoned,
unless the road is holding it back, in the interior,
where we cannot see,
where deep lakes are reputed to be,
and disused trails and mountains of rock
and miles of burnt forests, standing in gray scratches
like the admirable scriptures made on stones by stones--
and these regions now have little to say for themselves
except in thousands of light song-sparrow songs floating upward
freely, dispassionately, through the mist, and meshing
in brown-wet, fine torn fish-nets.
A small bus comes along, in up-and-down rushes,
packed with people, even to its step.
(On weekdays with groceries, spare automobile parts, and pump parts,
but today only two preachers extra, one carrying his frock coat on a
hanger.)
It passes the closed roadside stand, the closed schoolhouse,
where today no flag is flying
from the rough-adzed pole topped with a white china doorknob.
It stops, and a man carrying a bay gets off,
climbs over a stile, and goes down through a small steep meadow,
which establishes its poverty in a snowfall of daisies,
to his invisible house beside the water.
The birds keep on singing, a calf bawls, the bus starts.
The thin mist follows
the white mutations of its dream;
an ancient chill is rippling the dark brooks.
Even Rudyard Kipling included a verse about Halifax in his "The Song of the Cities’" which describes a round trip of the British Empire.
"Into the mist my guardian prows put forth,
Behind the mist my virgin ramparts lie,
The Warden of the Honour of the North,
Sleepless and veiled am I!"
Robert Frost wrote about the most beautiful city here. Lunenburg in his poem "The Mountain".
"The mountain held the town as in a shadow
I saw so much before I slept there once:
I noticed that I missed stars in the west,
Where its black body cut into the sky.
Near me it seemed: I felt it like a wall
Behind which I was sheltered from a wind.
And yet between the town and it I found,
When I walked forth at dawn to see new things,
Were fields, a river, and beyond, more fields.
The river at the time was fallen away,
And made a widespread brawl on cobble-stones;
But the signs showed what it had done in spring;
Good grass-land gullied out, and in the grass
Ridges of sand, and driftwood stripped of bark.
I crossed the river and swung round the mountain.
And there I met a man who moved so slow
With white-faced oxen in a heavy cart,
It seemed no hand to stop him altogether.
"What town is this?" I asked.
"This? Lunenburg."
the rest of the poem ▼
Then I was wrong: the town of my sojourn,
Beyond the bridge, was not that of the mountain,
But only felt at night its shadowy presence.
"Where is your village? Very far from here?"
"There is no village--only scattered farms.
We were but sixty voters last election.
We can't in nature grow to many more:
That thing takes all the room!" He moved his goad.
The mountain stood there to be pointed at.
Pasture ran up the side a little way,
And then there was a wall of trees with trunks:
After that only tops of trees, and cliffs
Imperfectly concealed among the leaves.
A dry ravine emerged from under boughs
Into the pasture.
"That looks like a path.
Is that the way to reach the top from here?--
Not for this morning, but some other time:
I must be getting back to breakfast now."
"I don't advise your trying from this side.
There is no proper path, but those that have
Been up, I understand, have climbed from Ladd's.
That's five miles back. You can't mistake the place:
They logged it there last winter some way up.
I'd take you, but I'm bound the other way."
"You've never climbed it?"
"I've been on the sides
Deer-hunting and trout-fishing. There's a brook
That starts up on it somewhere--I've heard say
Right on the top, tip-top--a curious thing.
But what would interest you about the brook,
It's always cold in summer, warm in winter.
One of the great sights going is to see
It steam in winter like an ox's breath,
Until the bushes all along its banks
Are inch-deep with the frosty spines and bristles--
You know the kind. Then let the sun shine on it!"
"There ought to be a view around the world
From such a mountain--if it isn't wooded
Clear to the top." I saw through leafy screens
Great granite terraces in sun and shadow,
Shelves one could rest a knee on getting up--
With depths behind him sheer a hundred feet;
Or turn and sit on and look out and down,
With little ferns in crevices at his elbow.
"As to that I can't say. But there's the spring,
Right on the summit, almost like a fountain.
That ought to be worth seeing."
"If it's there.
You never saw it?"
"I guess there's no doubt
About its being there. I never saw it.
It may not be right on the very top:
It wouldn't have to be a long way down
To have some head of water from above,
And a good distance down might not be noticed
By anyone who'd come a long way up.
One time I asked a fellow climbing it
To look and tell me later how it was."
"What did he say?"
"He said there was a lake
Somewhere in Ireland on a mountain top."
"But a lake's different. What about the spring?"
"He never got up high enough to see.
That's why I don't advise your trying this side.
He tried this side. I've always meant to go
And look myself, but you know how it is:
It doesn't seem so much to climb a mountain
You've worked around the foot of all your life.
What would I do? Go in my overalls,
With a big stick, the same as when the cows
Haven't come down to the bars at milking time?
Or with a shotgun for a stray black bear?
'Twouldn't seem real to climb for climbing it."
"I shouldn't climb it if I didn't want to--
Not for the sake of climbing. What's its name?"
"We call it Hor: I don't know if that's right."
"Can one walk around it? Would it be too far?"
"You can drive round and keep in Lunenburg,
But it's as much as ever you can do,
The boundary lines keep in so close to it.
Hor is the township, and the township's Hor--
And a few houses sprinkled round the foot,
Like boulders broken off the upper cliff,
Rolled out a little farther than the rest."
"Warm in December, cold in June, you say?"
"I don't suppose the water's changed at all.
You and I know enough to know it's warm
Compared with cold, and cold compared with warm.
But all the fun's in how you say a thing."
"You've lived here all your life?"
"Ever since Hor
Was no bigger than a----" What, I did not hear.
He drew the oxen toward him with light touches
Of his slim goad on nose and offside flank,
Gave them their marching orders and was moving."
Finally, one of my favourite poets, E. Pauline Johnson wrote about Halifax in her "Guard of the Eastern Gate"! We visit Halifax once a month and it is cool to see the places we learned about in school. A navy and historical military site Citadel Hill and the fortress are open to visitors. This poem captures its essence in its early days.
"Halifax sits on her hills by the sea
In the might of her pride,
Invincible, terrible, beautiful, she
With a sword at her side.
To right and to left of her, battlements rear
And fortresses frown;
While she sits on her throne without favour or fear
With her cannon as crown.
Coast guard and sentinel, watch of the weal
Of a nation she keeps;
But her hand is encased in a gauntlet of steel,
And her thunder but sleeps."
How do you use "place" in your poetry?
Thanks for reading!
eyestar
https://www.placeness.com/place-and-poetry/
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Thanks to these authors for their Tanka poems after reading my last newsletters!
JCosmos
I've added a new item to my portfolio:
Three Tanka
1 Why Did I create them?
God drinks his coffee
On a cold winter morning
Thinking humanity
Oh were such foolish creatures
And why did he create them?
2. what is Groundhog Day?
What is Groundhog Day?
I just don’t understand it
What does seeing a shadow
Have anything to do
With the weather anyway?
3. the end of an Era
Every day I think
That the end of time is near
The rumors of war
Monster storms and wild fires
Trump Still talking crazy stuff.
calmetj
I had to try writing a Tanka which lead to yet another. Then, I wondered, what if it was written in the Tanka pattern but also had rhyme?
To write a Tanka
I must have something to say
Keeping to the style
It must be written that way
Difficult - I quit
Would this still qualify for Tanka poetry?
As I understand it Tanka evoke vivid imagery and reflection for the reader. As they are free verse they do NOT have to rhyme , but do follow a format. I have seen some that have rhyme! |
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