The Darkling Thrush

Credit: Chris Gomersall, RSPB

I leant upon a coppice gate 

      When Frost was spectre-grey, 

And Winter's dregs made desolate 

      The weakening eye of day. 

The tangled bine-stems scored the sky 

      Like strings of broken lyres, 

And all mankind that haunted nigh 

      Had sought their household fires. 

The land's sharp features seemed to be 

      The Century's corpse outleant, 

His crypt the cloudy canopy, 

      The wind his death-lament. 

The ancient pulse of germ and birth 

      Was shrunken hard and dry, 

And every spirit upon earth 

      Seemed fervourless as I. 

At once a voice arose among 

      The bleak twigs overhead 

In a full-hearted evensong 

      Of joy illimited; 

An aged thrush, frail, gaunt, and small, 

      In blast-beruffled plume, 

Had chosen thus to fling his soul 

      Upon the growing gloom. 

So little cause for carolings 

      Of such ecstatic sound 

Was written on terrestrial things 

      Afar or nigh around, 

That I could think there trembled through 

      His happy good-night air 

Some blessed Hope, whereof he knew 

      And I was unaware. 

~ Thomas Hardy

The Darkling Thrush

Credit: Chris Gomersall, RSPB

I leant upon a coppice gate 

      When Frost was spectre-grey, 

And Winter's dregs made desolate 

      The weakening eye of day. 

The tangled bine-stems scored the sky 

      Like strings of broken lyres, 

And all mankind that haunted nigh 

      Had sought their household fires. 

The land's sharp features seemed to be 

      The Century's corpse outleant, 

His crypt the cloudy canopy, 

      The wind his death-lament. 

The ancient pulse of germ and birth 

      Was shrunken hard and dry, 

And every spirit upon earth 

      Seemed fervourless as I. 

At once a voice arose among 

      The bleak twigs overhead 

In a full-hearted evensong 

      Of joy illimited; 

An aged thrush, frail, gaunt, and small, 

      In blast-beruffled plume, 

Had chosen thus to fling his soul 

      Upon the growing gloom. 

So little cause for carolings 

      Of such ecstatic sound 

Was written on terrestrial things 

      Afar or nigh around, 

That I could think there trembled through 

      His happy good-night air 

Some blessed Hope, whereof he knew 

      And I was unaware. 

~ Thomas Hardy

Query

Credit: Beni Hassan

I asked the birds
who sing at night
where they learned their songs,
and what they sang about.

They said, "We learn from
birds who sing by day,
but what we sing about
is hard for us to say."

"Only those with beak
and wing can fathom joy
in dark and doubt.
The sky may turn to evening
and the sun to moon,
but we sing
of what you do not speak -
how night is sometimes noon,
how any season of the soul
can, with time, be coaxed to spring."

~ Jean Burden

Query

Credit: Beni Hassan

I asked the birds
who sing at night
where they learned their songs,
and what they sang about.

They said, "We learn from
birds who sing by day,
but what we sing about
is hard for us to say."

"Only those with beak
and wing can fathom joy
in dark and doubt.
The sky may turn to evening
and the sun to moon,
but we sing
of what you do not speak -
how night is sometimes noon,
how any season of the soul
can, with time, be coaxed to spring."

~ Jean Burden

A Tree Telling of Orpheus

Source: Unknown/favim.com

White dawn. Stillness.      When the rippling began
I took it for a sea-wind, coming to our valley with rumors
of salt, of treeless horizons. but the white fog
didn't stir; the leaved of my brothers remained outstretched,
unmoving.

Yet the rippling drew nearer — and then
my own outermost branches began to tingle, almost as if
fire had been lit below them, too close, and their twig-tips
were drying and curling.
Yet I was not afraid, only
deeply alert.

I was the first to see him, for I grew
out on the pasture slope, beyond the forest.
He was a man, it seemed: the two
moving stems, the short trunk, the two
arm-branches, flexible, each with five leafless
twigs at their ends,
and the head that's crowned by brown or gold grass,
bearing a face not like the beaked face of a bird,
more like a flower's.
He carried a burden made of
some cut branch bent while it was green,
strands of a vine tight-stretched across it. From this,
when he touched it, and from his voice
which unlike the wind's voice had no need of our
leaves and branches to complete its sound,
came the ripple.
But it was now no longer a ripple (he had come near and
stopped in my first shadow) it was a wave that bathed me
as if rain
rose from below and around me
instead of falling.
And what I felt was no longer a dry tingling:
I seemed to be singing as he sang, I seemed to know
what the lark knows; all my sap
was mounting towards the sun that by now
had risen, the mist was rising, the grass
was drying, yet my roots felt music moisten them
deep under earth.

He came still closer, leaned on my trunk:
the bark thrilled like a leaf still-folded.
Music! there was no twig of me not
trembling with joy and fear.

Then as he sang
it was no longer sounds only that made the music:
he spoke, and as no tree listens I listened, and language
came into my roots
out of the earth,
into my bark
out of the air,
into the pores of my greenest shoots
gently as dew
and there was no word he sang but I knew its meaning.
He told of journeys,
of where sun and moon go while we stand in dark,
of an earth-journey he dreamed he would take some day
deeper than roots…
He told of the dreams of man, wars, passions, griefs,
and I, a tree, understood words — ah, it seemed
my thick bark would split like a sapling's that
grew too fast in the spring
when a late frost wounds it. 
 
Fire he sang,
that trees fear, and I, a tree, rejoiced in its flames.
New buds broke forth from me though it was full summer.
As though his lyre (now I knew its name)
were both frost and fire, its chord flamed
up to the crown of me.

I was seed again.
I was fern in the swamp.
I was coal.

And at the heart of my wood
(so close I was to becoming man or god)
there was a kind of silence, a kind of sickness,
something akin to what men call boredom,
something
(the poem descended a scale, a stream over stones)
that gives to a candle a coldness
in the midst of its burning, he said.

It was then,
when in the blaze of his power that
reached me and changed me
I thought I should fall my length,
that the singer began
 to leave me.      Slowly
moved from my noon shadow
to open light,
words leaping and dancing over his shoulders
back to me
rivery sweep of lyre-tones becoming
slowly again
ripple.

And I              in terror
but not in doubt of
what I must do
in anguish, in haste,
wrenched from the earth root after root,
the soil heaving and cracking, the moss tearing asunder —
and behind me the others: my brothers
forgotten since dawn. In the forest
they too had heard,
and were pulling their roots in pain
out of a thousand year's layers of dead leaves,
rolling the rocks away,
breaking themselves
out of
their depths. 
 
You would have thought we would lose the sound of the lyre,
of the singing
so dreadful the storm-sounds were, where there was no storm,
no wind but the rush of our
branches moving, our trunks breasting the air.
But the music!
The music reached us.
Clumsily,
stumbling over our own roots,
rustling our leaves
in answer,
we moved, we followed.

All day we followed, up hill and down.
We learned to dance,
for he would stop, where the ground was flat,
and words he said
taught us to leap and to wind in and out
around one another    in figures    the lyre's measure designed.

The singer
laughed till he wept to see us, he was so glad.
At sunset
we came to this place I stand in, this knoll
with its ancient grove that was bare grass then.
In the last light of that day his song became
farewell.
He stilled our longing.
He sang our sun-dried roots back into earth,
watered them: all-night rain of music so quiet
we could almost
not hear it in the
moonless dark.
By dawn he was gone.
We have stood here since,
in our new life.
We have waited.
He does not return.
It is said he made his earth-journey, and lost
what he sought.
It is said they felled him
and cut up his limbs for firewood.
And it is said
his head still sang and was swept out to sea singing.
Perhaps he will not return.
But what we have lived
comes back to us.
We see more.
We feel, as our rings increase,
something that lifts our branches, that stretches our furthest
leaf-tips
further.
The wind, the birds,
do not sound poorer but clearer,
recalling our agony, and the way we danced.
The music!

~ Denise Levertov

A Tree Telling of Orpheus

Source: Unknown/favim.com

White dawn. Stillness.      When the rippling began
I took it for a sea-wind, coming to our valley with rumors
of salt, of treeless horizons. but the white fog
didn't stir; the leaved of my brothers remained outstretched,
unmoving.

Yet the rippling drew nearer — and then
my own outermost branches began to tingle, almost as if
fire had been lit below them, too close, and their twig-tips
were drying and curling.
Yet I was not afraid, only
deeply alert.

I was the first to see him, for I grew
out on the pasture slope, beyond the forest.
He was a man, it seemed: the two
moving stems, the short trunk, the two
arm-branches, flexible, each with five leafless
twigs at their ends,
and the head that's crowned by brown or gold grass,
bearing a face not like the beaked face of a bird,
more like a flower's.
He carried a burden made of
some cut branch bent while it was green,
strands of a vine tight-stretched across it. From this,
when he touched it, and from his voice
which unlike the wind's voice had no need of our
leaves and branches to complete its sound,
came the ripple.
But it was now no longer a ripple (he had come near and
stopped in my first shadow) it was a wave that bathed me
as if rain
rose from below and around me
instead of falling.
And what I felt was no longer a dry tingling:
I seemed to be singing as he sang, I seemed to know
what the lark knows; all my sap
was mounting towards the sun that by now
had risen, the mist was rising, the grass
was drying, yet my roots felt music moisten them
deep under earth.

He came still closer, leaned on my trunk:
the bark thrilled like a leaf still-folded.
Music! there was no twig of me not
trembling with joy and fear.

Then as he sang
it was no longer sounds only that made the music:
he spoke, and as no tree listens I listened, and language
came into my roots
out of the earth,
into my bark
out of the air,
into the pores of my greenest shoots
gently as dew
and there was no word he sang but I knew its meaning.
He told of journeys,
of where sun and moon go while we stand in dark,
of an earth-journey he dreamed he would take some day
deeper than roots…
He told of the dreams of man, wars, passions, griefs,
and I, a tree, understood words — ah, it seemed
my thick bark would split like a sapling's that
grew too fast in the spring
when a late frost wounds it. 
 
Fire he sang,
that trees fear, and I, a tree, rejoiced in its flames.
New buds broke forth from me though it was full summer.
As though his lyre (now I knew its name)
were both frost and fire, its chord flamed
up to the crown of me.

I was seed again.
I was fern in the swamp.
I was coal.

And at the heart of my wood
(so close I was to becoming man or god)
there was a kind of silence, a kind of sickness,
something akin to what men call boredom,
something
(the poem descended a scale, a stream over stones)
that gives to a candle a coldness
in the midst of its burning, he said.

It was then,
when in the blaze of his power that
reached me and changed me
I thought I should fall my length,
that the singer began
 to leave me.      Slowly
moved from my noon shadow
to open light,
words leaping and dancing over his shoulders
back to me
rivery sweep of lyre-tones becoming
slowly again
ripple.

And I              in terror
but not in doubt of
what I must do
in anguish, in haste,
wrenched from the earth root after root,
the soil heaving and cracking, the moss tearing asunder —
and behind me the others: my brothers
forgotten since dawn. In the forest
they too had heard,
and were pulling their roots in pain
out of a thousand year's layers of dead leaves,
rolling the rocks away,
breaking themselves
out of
their depths. 
 
You would have thought we would lose the sound of the lyre,
of the singing
so dreadful the storm-sounds were, where there was no storm,
no wind but the rush of our
branches moving, our trunks breasting the air.
But the music!
The music reached us.
Clumsily,
stumbling over our own roots,
rustling our leaves
in answer,
we moved, we followed.

All day we followed, up hill and down.
We learned to dance,
for he would stop, where the ground was flat,
and words he said
taught us to leap and to wind in and out
around one another    in figures    the lyre's measure designed.

The singer
laughed till he wept to see us, he was so glad.
At sunset
we came to this place I stand in, this knoll
with its ancient grove that was bare grass then.
In the last light of that day his song became
farewell.
He stilled our longing.
He sang our sun-dried roots back into earth,
watered them: all-night rain of music so quiet
we could almost
not hear it in the
moonless dark.
By dawn he was gone.
We have stood here since,
in our new life.
We have waited.
He does not return.
It is said he made his earth-journey, and lost
what he sought.
It is said they felled him
and cut up his limbs for firewood.
And it is said
his head still sang and was swept out to sea singing.
Perhaps he will not return.
But what we have lived
comes back to us.
We see more.
We feel, as our rings increase,
something that lifts our branches, that stretches our furthest
leaf-tips
further.
The wind, the birds,
do not sound poorer but clearer,
recalling our agony, and the way we danced.
The music!

~ Denise Levertov

One Song

Image Credit: Vyomi C.

After Rumi

A cardinal, the very essence of red, stabs

the hedgerow with his piercing notes;

a chickadee adds three short beats,

part of the percussion section, and a white-

throated sparrow moves the melody along.

Last night, at a concert, crashing waves

of Prokofiev; later, the soft rain falling

steadily and a train whistle off in the distance.

And today, the sun, waiting for its cue,

comes out from the clouds for a short sweet

solo, then sits back down, rests between turns.

On the other side of the world, night’s black

bass fiddle rosins its bow, draws it over

the strings, resonates with the breath

of sleepers, animal, vegetable, human.

All the world breathes in, breathes out.

It hums, it throbs, it improvises.  So many voices.

Only one song.

~ Barbara Crooker

One Song

Image Credit: Vyomi C.

After Rumi

A cardinal, the very essence of red, stabs

the hedgerow with his piercing notes;

a chickadee adds three short beats,

part of the percussion section, and a white-

throated sparrow moves the melody along.

Last night, at a concert, crashing waves

of Prokofiev; later, the soft rain falling

steadily and a train whistle off in the distance.

And today, the sun, waiting for its cue,

comes out from the clouds for a short sweet

solo, then sits back down, rests between turns.

On the other side of the world, night’s black

bass fiddle rosins its bow, draws it over

the strings, resonates with the breath

of sleepers, animal, vegetable, human.

All the world breathes in, breathes out.

It hums, it throbs, it improvises.  So many voices.

Only one song.

~ Barbara Crooker

Reckless Poem

Source: Unknown

Today again I am hardly myself.
It happens over and over.
It is heaven-sent.

It flows through me
like the blue wave.
Green leaves – you may believe this or not –
have once or twice
emerged from the tips of my fingers

somewhere
deep in the woods,
in the reckless seizure of spring.

Though, of course, I also know that other song,
the sweet passion of one-ness.

Just yesterday I watched an ant crossing a path, through the
          tumbled pine needles she toiled.
And I thought: she will never live another life but this one.
And I thought: if she lives her life with all her strength
          is she not wonderful and wise?
And I continued this up the miraculous pyramid of everything
          until I came to myself.

And still, even in these northern woods, on these hills of sand,
I have flown from the other window of myself
to become white heron, blue whale,
          red fox, hedgehog.
Oh, sometimes already my body has felt like the body of a flower!
Sometimes already my heart is a red parrot, perched
among strange, dark trees, flapping and screaming.

~ Mary Oliver

Reckless Poem

Source: Unknown

Today again I am hardly myself.
It happens over and over.
It is heaven-sent.

It flows through me
like the blue wave.
Green leaves – you may believe this or not –
have once or twice
emerged from the tips of my fingers

somewhere
deep in the woods,
in the reckless seizure of spring.

Though, of course, I also know that other song,
the sweet passion of one-ness.

Just yesterday I watched an ant crossing a path, through the
          tumbled pine needles she toiled.
And I thought: she will never live another life but this one.
And I thought: if she lives her life with all her strength
          is she not wonderful and wise?
And I continued this up the miraculous pyramid of everything
          until I came to myself.

And still, even in these northern woods, on these hills of sand,
I have flown from the other window of myself
to become white heron, blue whale,
          red fox, hedgehog.
Oh, sometimes already my body has felt like the body of a flower!
Sometimes already my heart is a red parrot, perched
among strange, dark trees, flapping and screaming.

~ Mary Oliver

One Train May Hide Another

Image: Claude La Riviere (Soundsangels)

(sign at a railroad crossing in Kenya)

In a poem, one line may hide another line,
As at a crossing, one train may hide another train.
That is, if you are waiting to cross
The tracks, wait to do it for one moment at
Least after the first train is gone. And so when you read
Wait until you have read the next line—
Then it is safe to go on reading.
In a family one sister may conceal another,
So, when you are courting, it’s best to have them all in view
Otherwise in coming to find one you may love another.
One father or one brother may hide the man,
If you are a woman, whom you have been waiting to love.
So always standing in front of something the other
As words stand in front of objects, feelings, and ideas.
One wish may hide another. And one person’s reputation may hide
The reputation of another. One dog may conceal another
On a lawn, so if you escape the first one you’re not necessarily safe;
One lilac may hide another and then a lot of lilacs and on the Appia Antica one tomb
May hide a number of other tombs. In love, one reproach may hide another,
One small complaint may hide a great one.
One injustice may hide another—one colonial may hide another,
One blaring red uniform another, and another, a whole column. One bath may hide another bath
As when, after bathing, one walks out into the rain.
One idea may hide another: Life is simple
Hide Life is incredibly complex, as in the prose of Gertrude Stein
One sentence hides another and is another as well. And in the laboratory
One invention may hide another invention,
One evening may hide another, one shadow, a nest of shadows.
One dark red, or one blue, or one purple—this is a painting
By someone after Matisse. One waits at the tracks until they pass,
These hidden doubles or, sometimes, likenesses. One identical twin
May hide the other. And there may be even more in there! The obstetrician
Gazes at the Valley of the Var. We used to live there, my wife and I, but
One life hid another life. And now she is gone and I am here.
A vivacious mother hides a gawky daughter. The daughter hides
Her own vivacious daughter in turn. They are in
A railway station and the daughter is holding a bag
Bigger than her mother’s bag and successfully hides it.
In offering to pick up the daughter’s bag one finds oneself confronted by the mother’s
And has to carry that one, too. So one hitchhiker
May deliberately hide another and one cup of coffee
Another, too, until one is over-excited. One love may hide another love or the same love
As when “I love you” suddenly rings false and one discovers
The better love lingering behind, as when “I’m full of doubts”
Hides “I’m certain about something and it is that”
And one dream may hide another as is well known, always, too. In the Garden of Eden
Adam and Eve may hide the real Adam and Eve.
Jerusalem may hide another Jerusalem.
When you come to something, stop to let it pass
So you can see what else is there. At home, no matter where,
Internal tracks pose dangers, too: one memory
Certainly hides another, that being what memory is all about,
The eternal reverse succession of contemplated entities. Reading A Sentimental Journey look around
When you have finished, for Tristram Shandy, to see
If it is standing there, it should be, stronger
And more profound and theretofore hidden as Santa Maria Maggiore
May be hidden by similar churches inside Rome. One sidewalk
May hide another, as when you’re asleep there, and
One song hide another song; a pounding upstairs
Hide the beating of drums. One friend may hide another, you sit at the foot of a tree
With one and when you get up to leave there is another
Whom you’d have preferred to talk to all along. One teacher,
One doctor, one ecstasy, one illness, one woman, one man
May hide another. Pause to let the first one pass.
You think, Now it is safe to cross and you are hit by the next one. It can be important
To have waited at least a moment to see what was already there.

~ Kenneth Koch

One Train May Hide Another

Image: Claude La Riviere (Soundsangels)

(sign at a railroad crossing in Kenya)

In a poem, one line may hide another line,
As at a crossing, one train may hide another train.
That is, if you are waiting to cross
The tracks, wait to do it for one moment at
Least after the first train is gone. And so when you read
Wait until you have read the next line—
Then it is safe to go on reading.
In a family one sister may conceal another,
So, when you are courting, it’s best to have them all in view
Otherwise in coming to find one you may love another.
One father or one brother may hide the man,
If you are a woman, whom you have been waiting to love.
So always standing in front of something the other
As words stand in front of objects, feelings, and ideas.
One wish may hide another. And one person’s reputation may hide
The reputation of another. One dog may conceal another
On a lawn, so if you escape the first one you’re not necessarily safe;
One lilac may hide another and then a lot of lilacs and on the Appia Antica one tomb
May hide a number of other tombs. In love, one reproach may hide another,
One small complaint may hide a great one.
One injustice may hide another—one colonial may hide another,
One blaring red uniform another, and another, a whole column. One bath may hide another bath
As when, after bathing, one walks out into the rain.
One idea may hide another: Life is simple
Hide Life is incredibly complex, as in the prose of Gertrude Stein
One sentence hides another and is another as well. And in the laboratory
One invention may hide another invention,
One evening may hide another, one shadow, a nest of shadows.
One dark red, or one blue, or one purple—this is a painting
By someone after Matisse. One waits at the tracks until they pass,
These hidden doubles or, sometimes, likenesses. One identical twin
May hide the other. And there may be even more in there! The obstetrician
Gazes at the Valley of the Var. We used to live there, my wife and I, but
One life hid another life. And now she is gone and I am here.
A vivacious mother hides a gawky daughter. The daughter hides
Her own vivacious daughter in turn. They are in
A railway station and the daughter is holding a bag
Bigger than her mother’s bag and successfully hides it.
In offering to pick up the daughter’s bag one finds oneself confronted by the mother’s
And has to carry that one, too. So one hitchhiker
May deliberately hide another and one cup of coffee
Another, too, until one is over-excited. One love may hide another love or the same love
As when “I love you” suddenly rings false and one discovers
The better love lingering behind, as when “I’m full of doubts”
Hides “I’m certain about something and it is that”
And one dream may hide another as is well known, always, too. In the Garden of Eden
Adam and Eve may hide the real Adam and Eve.
Jerusalem may hide another Jerusalem.
When you come to something, stop to let it pass
So you can see what else is there. At home, no matter where,
Internal tracks pose dangers, too: one memory
Certainly hides another, that being what memory is all about,
The eternal reverse succession of contemplated entities. Reading A Sentimental Journey look around
When you have finished, for Tristram Shandy, to see
If it is standing there, it should be, stronger
And more profound and theretofore hidden as Santa Maria Maggiore
May be hidden by similar churches inside Rome. One sidewalk
May hide another, as when you’re asleep there, and
One song hide another song; a pounding upstairs
Hide the beating of drums. One friend may hide another, you sit at the foot of a tree
With one and when you get up to leave there is another
Whom you’d have preferred to talk to all along. One teacher,
One doctor, one ecstasy, one illness, one woman, one man
May hide another. Pause to let the first one pass.
You think, Now it is safe to cross and you are hit by the next one. It can be important
To have waited at least a moment to see what was already there.

~ Kenneth Koch