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Birds and poetry (1 Viewer)

Jane Turner

Well-known member
THE GREAT AUK'S GHOST

The Great Auk's ghost rose on one leg,
Sighed thrice, and three times winked,
And turned and poached a phantom egg,
And muttered, "I'm extinct."
 

Bluetail

Senior Moment
Nice poem, Annie. I've always been a sucker for pathos.

I wonder whether Jane's (which is by Ralph Hodgson apparently) was that meant to be a parody of Coleridge's Ancient Mariner. Hard not to see it that way.
 

scampo

Steve Campsall
Bluetail said:
Nice poem, Annie. I've always been a sucker for pathos.

I wonder whether Jane's (which is by Ralph Hodgson apparently) was that meant to be a parody of Coleridge's Ancient Mariner. Hard not to see it that way.
How dare anyone parody that great poem!

(-:
 

scampo

Steve Campsall
christineredgat said:
Thankyou Annie and Geraldine.Yes Annie,that is a strange poem,is it not.Geraldine,do you know I have gone all through my Oscar Wilde books,and only found a couple with "bird " contents,unfortunately they were not quite suitable for this Forum.QUOTE]

I can't imagine the urbane Mr. Wilde being interested in birds outside of a cage or at the end of a rifle sight, myself...
 

scampo

Steve Campsall
Have I posted this wonderful extract from Walt Whitman before? I was just looking through my poetry files for teaching next week (yes, I get paid for it - wonderful!) and found ...

THE DALLIANCE OF THE EAGLES

By Walt Whitman


Skirting the river road, (my forenoon walk, my rest,)
Skyward in the air a sudden muffled sound, the dalliance of the eagles,
The rushing amorous contact high in space together,
The clinching interlocking claws, a living, fierce, gyrating wheel,
Four beating wings, two beaks, a swirling mass tight grappling,
In tumbling turning clustering loops, straight downward falling,
Till o'er the river pois’d, the twain yet one, a moment's lull,
A motionless still balance in the air, then parting, talons loosing,
Upward again on slow-firm pinions slanting, their separate diverse flight,
She hers, he his, pursuing.




[1880]
 

scampo

Steve Campsall
And another...


Coming

On longer evenings,
Light, still and yellow,
Bathes the serene
Foreheads of houses.
A thrush sings,
Laurel-surrounded
In the deep bare garden,
Its fresh-peeled voice
Astonishing the brickwork.

It will be spring soon,
It will be spring soon -
And I, whose childhood
Is a forgotten boredom,
Feel like a child
Who comes on a scene
Of adult reconciling,
And can understand nothing
But the unusual laughter,
And starts to be happy.

Philip Larkin


The utterly wonderful qualities of words, eh?
 

scampo

Steve Campsall
No birds, but what beauty there can be in words:

. . . Thus sang the uncouth swain to th’oaks and rills,
While the still morn went out with sandals grey;
He touched the tender stops of various quills,
With eager thought warbling his Doric lay:
And now the sun had stretched out all the hills,
And now was dropped into the western bay;
At last he rose, and twitched his mantle blue:
Tomorrow to fresh woods, and pastures new.

John Milton
from “Lycidas”
 

scampo

Steve Campsall
Here's a long poem, but for those of us who live in or love what is left of our fine land, it will surely raise joy in your breast:


[font=Verdana, Geneva, Helvetica, Arial, sans-serif][size=-1]Lob[/size][/font]

[font=Verdana, Geneva, Helvetica, Arial, sans-serif][size=-1]At hawthorn-time in Wiltshire travelling
In search of something chance would never bring,
An old man's face, by life and weather cut
And coloured, - rough, brown, sweet as any nut,
A land face, sea-blue-eyed, - hung in my mind
When I had left him many a mile behind.
All he said was: 'Nobody can't stop 'ee. It's
A footpath, right enough. You see those bits
Of mounds - that's where they opened up the barrows
Sixty years since, while I was scaring sparrows.
They thought as there was something to find there,
But couldn't find it, by digging, anywhere.'[/size][/font]

[font=Verdana, Geneva, Helvetica, Arial, sans-serif][size=-1]To turn back then and seek him, where was the use?
There were three Manningfords, - Abbots, Bohun, and Bruce:
And whether Alton, not Manningford, it was,
My memory could not decide, because
There was both Alton Barnes and Alton Priors.
All had their churches, graveyards, farms, and byres,
Lurking to one side up the paths and lanes,
Seldom well seen except by aeroplanes;
And when bells rang, or pigs squealed, or cocks crowed,
Then only heard. Ages ago the road
Approached. The people stood and looked and turned.
Nor asked it to come nearer, nor yet learned
To move out there and dwell in all men's dust.
And yet withal they shot the weathercock, just
Because 'twas he crowed out of tune, they said;
So now the copper weathercock is dead.
If they had reaped their dandelions and sold
Them fairly, they could have afforded gold.[/size][/font]

[font=Verdana, Geneva, Helvetica, Arial, sans-serif][size=-1]Many years passed, and I went back again
Among those villages, and looked for men
Who might have known my ancient. He himself
Had long been dead or laid upon the shelf,
I thought. One man I asked about him roared
At my description: ' 'Tis old Bottlesford
He means, Bill.' But another said: 'Of course,
It was Jack Button up at the White Horse.
He's dead, sir, these three years.' This lasted till
A girl proposed Walker of Walker's Hill,
'Old Adam Walker. Adam's Point you'll see
Marked on the maps.'
'That was her roguery.'
The next man said. He was a squire's son
Who loved wild bird and beast, and dog and gun
For killing them. He had loved them from his birth,
One with another, as he loved the earth.
'The man may be like Button, or Walker, or
Like Bottlesford, that you want, but far more
He sounds like one I saw when I was a child.
I could almost swear to him. The man was wild
And wandered. His home was where he was free.
Everybody has met one such man as he.
Does he keep clear old paths that no one uses
But once a lifetime when he loves or muses?
He is English as this gate, these flowers, this mire.
And when at eight years old Lob-lie-by-the-fire
Came in my books, this was the man I saw.
He has been in England as long as dove and daw,
Calling the wild cherry tree the merry tree,
The rose campion Bridget-in-her-bravery;
And in a tender mood he, as I guess,
Christened one flower Love-in-idleness,
And while he walked from Exeter to Leeds
One April called all cuckoo-flowers Milkmaids.
From him old herbal Gerard learnt, as a boy,
To name wild clematis the Traveller's-joy.
Our blackbirds sang no English till his ear
Told him they called his Jan Toy "Pretty dear".
(She was Jan Toy the Lucky, who, having lost
A shilling, and found a penny loaf, rejoiced.)
For reasons of his own to him the wren
Is Jenny Pooter. Before all other men
'Twas he first called the Hog's Back the Hog's Back.
That Mother Dunch's Buttocks should not lack
Their name was his care. He too could explain
Totteridge and Totterdown and Juggler's Lane:
He knows, if anyone. Why Tumbling Bay,
Inland in Kent, is called so, he might say.[/size][/font]

[font=Verdana, Geneva, Helvetica, Arial, sans-serif][size=-1]'But little he says compared with what he does.
If ever a sage troubles him he will buzz
Like a beehive to conclude the tedious fray:
And the sage, who knows all languages, runs away.
Yet Lob has thirteen hundred names for a fool,
And though he never could spare time for school
To unteach what the fox so well expressed,
On biting the cock's head off, - Quietness is best, -
He can talk quite as well as anyone
After his thinking is forgot and done.
He first of all told someone else's wife,
For a farthing she'd skin a flint and spoil a knife
Worth sixpence skinning it. She heard him speak:
"She had a face as long as a wet week"
Said he, telling the tale in after years.
With blue smock and with gold rings in his ears,
Sometimes he is a pedlar, not too poor
To keep his wit. This is tall Tom that bore
The logs in, and with Shakespeare in the hall
Once talked, when icicles hung by the wall.
As Herne the Hunter he has known hard times.
On sleepless nights he made up weather rhymes
Which others spoilt. And, Hob being then his name,
He kept the hog that thought the butcher came
To bring his breakfast. "You thought wrong", said Hob.
When there were kings in Kent this very Lob,
Whose sheep grew fat and he himself grew merry,
Wedded the king's daughter of Canterbury;
For he alone, unlike squire, lord, and king,
Watched a night by her without slumbering;
He kept both waking. When he was but a lad
He won a rich man's heiress, deaf, dumb, and sad,
By rousing her to laugh at him. He carried
His donkey on his back. So they were married.
And while he was a little cobbler's boy
He tricked the giant coming to destroy
Shrewsbury by flood. "And how far is it yet?"
The giant asked in passing. "I forget;
But see these shoes I've worn out on the road
and we're not there yet." He emptied out his load
Of shoes for mending. The giant let fall from his spade
The earth for damming Severn, and thus made
The Wrekin hill; and little Ercall hill
Rose where the giant scraped his boots. While still
So young, our Jack was chief of Gotham's sages.
But long before he could have been wise, ages
Earlier than this, while he grew thick and strong
And ate his bacon, or, at times, sang a song
And merely smelt it, as Jack the giant-killer
He made a name. He too ground up the miller,
The Yorkshireman who ground men's bones for flour.[/size][/font]
[font=Verdana, Geneva, Helvetica, Arial, sans-serif][size=-1]'Do you believe Jack dead before his hour?
Or that his name is Walker, or Bottlesford,
Or Button, a mere clown, or squire, or lord?
The man you saw, - Lob-lie-by-the-fire, Jack Cade,
Jack Smith, Jack Moon, poor Jack of every trade,
Young Jack, or old Jack, or Jack What-d'ye-call,
Jack-in-the-hedge, or Robin-run-by-the-wall,
Robin Hood, Ragged Robin, lazy Bob,
One of the lords of No Man's Land, good Lob, -
Although he was seen dying at Waterloo,
Hastings, Agincourt, and Sedgemoor too, -
Lives yet. He never will admit he is dead
Till millers cease to grind men's bones for bread ,
Not till our weathercock crows once again
And I remove my house out of the lane
On to the road.' With this he disappeared
In hazel and thorn tangled with old-man's-beard.
But one glimpse of his back, as there he stood,
Choosing his way, proved him of old Jack's blood,
Young Jack perhaps, and now a Wiltshireman
As he has oft been since his days began.[/size][/font]

Edward Thomas
 
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Geraldine

Martian Member
I love the Philip Larkin one. I hadn't read it before. So many crystal-clear images, visual and emotional, in so few words! 'The serene foreheads of houses'... wow!
 

Geraldine

Martian Member
I was just thinking, how every word that we read carries many images, emotions and connotations that are purely subjective. That lays colour on the words, and produces feelings not only from their meanings but from their meanings to me, echoing back through my life. That line alone, 'bathes the serene foreheads of houses,' to me paints a picture of terraced white cottages, tinged pale orange by the sun, their windows, like upturned eyes reflecting the sunset, and I think of my children many years ago, sitting in the bath as I washed their hair, looking up at me. The word serene recalls, for me, the line from Gray's Elegy,
'Full many a gem of purest ray serene
the dark, unfathom'd caves of ocean bear:
Full many a flower is born to blush unseen
and waste its sweetness on the desert air.'

Those are only the first couple of feelings I get from those few words, but many more layers surface if I pause to re-read. To someone else a whole different set of thoughts and feelings will appear. How can anyone not like poetry? And yet, school killed it for me for years. I'm glad I rediscovered it!
 
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scampo

Steve Campsall
I do think (hope - but I have had many tell me) that my students do enjoy the poems we read together in class - and yet, I tell them openly that the poet would be appalled at the thought of the poem being read in such a context.

I think meanings are, to an extent, individual but if the poet has done her or his job well, there will be dominant themes that most will recognise.

The Larkin poem - as with so much of his poetry - is outstanding. He just seems to put his feelings in such a way that he can make us relate to his experiences so very well, and his tone somehow is reassuringly honest and utterl;y trustworthy. Here are another three very short poems - no birds! - but they each are, in their way, outstanding examples of how language can be made to work at a very deep level indeed:

Days

What are days for?
Days are where we live.
They come, they wake us
Time and time over.
They are to be happy in:
Where can we live but days?

Ah, solving that question
Brings the priest and the doctor
In their long coats
Running over the fields.


Cut Grass

Cut grass lies frail:
Brief is the breath
Mown stalks exhale.
Long, long the death

It dies in the white hours
Of young-leafed June
With chestnut flowers,
With hedges snowlike strewn,

White lilac bowed,
Lost lanes of Queen Anne’s lace
And that high-builded cloud
Moving at summer’s pace.


Water

If I were called in
To construct a religion
I should make use of water.

Going to church
Would entail a fording
To dry, different clothes;

My litany would employ
Images of sousing,
A furious devout drench,

And I should raise in the east
A glass of water
Where any-angled light
Would congregate endlessly.

Philip Larkin


The first poem above, "Days", has to be amongst the most powerful written in so few lines. Clearly it depends upon your religious views, but to me, it speaks volumes about not just our lives today, but the history of society.
 
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Geraldine

Martian Member
My comment about school killing poetry for me was in no way meant as a comment on how you or anyone else teaches poetry these days! We had to take a poem to pieces to such an extent, in our attempts to discover 'what the poet meant', (how was I supposed to know?!) and when I expressed feelings about a poem, I was invariably told I was wrong to read that into it, (Who can decide what I will read into a poem?) that I decided there must be some secret code for understanding poetry, and so gave up. The same with Shakespeare. But I am grateful for the huge chunks of poetry and of Shakespeare that I was forced to learn by heart, and which became clear and beautiful with the passing of the years!
 

christineredgate

Winner of the Copeland Wildlife Photographer of th
Steve,Geraldine and Jane,thankyou for those great poems.Yes ,Jane I liked yours re the Auk,very apt.Steve,was it Bottesford in your poem,I know the village well.I hope your shoulder is perhaps feeling easier,and all the best when you return to school.I like Oscar Wilde,he was a very clever chap,and he did have a few bird referrals in his prose,but as I mentioned not really suitable for this thread.
 

scampo

Steve Campsall
I take your point (and knew, btw, that you weren't referring to me... :) ) but I do think that poems have what might be referred to as a "dominant" reading for any society at any particular time - and that with luck this will approach what was intended by the poet.

That is not to say that the personal "baggage" we each bring to our interpretations does not colour, decrease or intensify the effects of a poem's imagery, for example, but I doubt it affects the poet's themes too much in the end. That said, I suppose, the cultural and historical context of a poet is his or hers alone, and we would probably struggle to know for certain what a poem's "true meaning" really is - if that doesn't sound too contradictory.
 

christineredgate

Winner of the Copeland Wildlife Photographer of th
Steve,you have "lost me",perhaps I take all verse too literally.It is the emotions inside the person which inspires the prose!!.Does that make sense!!
 

Geraldine

Martian Member
I would say that the main aim of a poem is the expression of an emotioal response to something, or the desire to express an emotion by the poet, with the hope, usually, that he will create a point of empathy with the reader? That doesn't mean that the poem is not valid if no-one empathises with the poet. The main aim, that of expressing the emotion, has been achieved. But if someone nods their head on reading the poem, and says, 'I know...', that feels great!
 

scampo

Steve Campsall
I know what you mean, Christine - except I'm not sure about 'literally' as I know from your comments that you see the 'other than literal' senses of a poem, too.

I was just suggesting that the meaning of a poem is not always as personal as we might think - or at least that there is, quite often, a common meaning available to all and that this might well be the meaning the poet intended.
 

scampo

Steve Campsall
Geraldine said:
I would say that the main aim of a poem is the expression of an emotioal response to something, or the desire to express an emotion by the poet, with the hope, usually, that he will create a point of empathy with the reader? That doesn't mean that the poem is not valid if no-one empathises with the poet. The main aim, that of expressing the emotion, has been achieved. But if someone nods their head on reading the poem, and says, 'I know...', that feels great!
I can't argue with that, Geraldine in fact, Wordsworth himself defined poetry as the spontaneous overflow of powerful feelings... pretty much in line with your comment here.

(-;
 

Geraldine

Martian Member
For example, James writes a lot of poetry about football, because he loves it. I have no interest in football, but I can say, 'That's a great poem,' but James would get more pleasure from the expression on a child-who's-keen-on-football's face when he reads the poem than from my comment, because I can't feel it.
 

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