Depth and Reflection in The Wind in the Willows
31 Saturday Aug 2013
Posted in PRESSitON word & earth
31 Saturday Aug 2013
Posted in PRESSitON word & earth
29 Thursday Aug 2013
Posted in PIPITS still not at all long poems
Tags
a/the/our Creator's wisdom, beastly beauty, embrace your life, human nature, inner beauty, nature's wisdom, Stella Gibbons
Lullaby for a Baby Toad
Sleep, my child:
The dark dock leaf
Spreads a tent
To hide your grief.
The thing you saw
In the forest pool
When you bent to drink
In the evening cool
Was a mask that He,
The Wisest Toad,
Gave us to hide
Our precious load–
The jewel that shines
In the flat toad-head
With gracious sapphire
And changing red.
For if, my toadling,
Your face were fair
As the precious jewel
That glimmers there,
Man, the jealous,
Man, the cruel,
Would look at you
And suspect the jewel.
So dry the tears
From your horned eyes,
And eat your supper
Of dew and flies;
Curl in the shade
Of the nettles deep,
Think of your jewel
And go to sleep.
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Stella Dorothea Gibbons (1902 – 1989) was an English novelist, journalist, poet, and short-story writer. Many of her poems, especially those regarding humankind’s seemingly inexhaustible addiction to ravaging nature, have a distinctly modern feel. Hers is an exquisite, even painful, sensitivity to the soul of the natural world. This poem appears in the author’s Collected Poems published in 1950. I’m sure it has appeared in anthologies elsewhere, as I have it hand-copied out in a notebook I kept when my daughter was small . . . but I’ve not yet located the particular children’s book wherein I first found it.
A reader, Anthony Davis, has kindly advised me that this poem also appears in the anthology All Day Long, compiled, with an introduction and biographical notes, by Pamela Whitlock, published by Oxford University Press (in 1954, originally). I’ve book in hand now, the only circulating copy in Toronto’s large library system (one reference-only copy also exists herein). What a treasure-trove this volume is! Most every selection captivates and pleases, and surprisingly, nearly 60 years later, breathes with a very modern and accessible sensibility. Whitlock, with sincere humility, insists that it is “only the beginning of an anthology”, and inspires the reader to continue on to “more comprehensive, more wisely compiled volumes, and to each poet’s own works”, and finally, to begin to create “the only anthology that would have delight breaking out for you on every single page: the one that you make for yourself…(which would be) a most marvellous book”. Personally, I believe that there is no better way to become familiar with and grow to love a language and a literature than by unearthing its poetry for young and old. Thank-you, Pamela Whitlock, and all publishers, collectors, readers, and creators of poems, life writ large. And thanks again for the heads-up, Anthony.
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Dock is a weedy herb whose leaves are popularly used to relieve nettle stings. Nettle is another herbaceous plant; its leaves are covered with stinging hairs; it’s been found, however, to be rich in vitamins and minerals.
29 Thursday Aug 2013
Posted in PRESSitON word & earth
16 Friday Aug 2013
Posted in POMEGRANATES somewhat longer verse
Tags
beauty in nature, community, delight, earthwork, fellowship, hayfields, haying, Pulitzer Prize, Robert Frost, shared feeling / shared labour
The Tuft of Flowers
I went to turn the grass once after one
Who mowed it in the dew before the sun.
The dew was gone that made his blade so keen
Before I came to view the levelled scene.
I looked for him behind an isle of trees;
I listened for his whetstone on the breeze.
But he had gone his way, the grass all mown,
And I must be, as he had been — alone,
‘As all must be,’ I said within my heart,
‘Whether they work together or apart.’
But as I said it, swift there passed me by
On noiseless wing a bewildered butterfly,
Seeking with memories grown dim o’er night
Some resting flower of yesterday’s delight.
And once I marked his flight go round and round,
As where some flower lay withering on the ground.
And then he flew as far as eye could see,
And then on tremulous wing came back to me.
I thought of questions that have no reply,
And would have turned to toss the grass to dry;
But he turned first, and led my eye to look
At a tall tuft of flowers beside a brook,
A leaping tongue of bloom the scythe had spared
Beside a reedy brook the scythe had bared.
The mower in the dew had loved them thus,
By leaving them to flourish, not for us,
Nor yet to draw one thought of ours to him.
But from sheer morning gladness at the brim.
The butterfly and I had lit upon,
Nevertheless, a message from the dawn,
That made me hear the wakening birds around,
And hear his long scythe whispering to the ground,
And feel a spirit kindred to my own;
So that henceforth I worked no more alone;
But glad with him, I worked as with his aid,
And weary, sought at noon with him the shade;
And dreaming, as it were, held brotherly speech
With one whose thought I had not hoped to reach.
‘Men work together,’ I told him from the heart,
‘Whether they work together or apart.’
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Robert Frost (1874 – 1963) is likely the United States’ most beloved poet. Over a span of 20 years he won four Pulitzer Prizes (one of the country’s most prestigious awards) for his books of poems. Also a teacher and speaker, he told aspiring writers: “There ought to be in everything you write some sign that you come from almost anywhere.” Before me I have two books in which “The Tuft of Flowers” appears:
• The Bill Martin Jr. Big Book of Poetry, 2008, a large, colourful and varied anthology edited by Bill Martin Jr. with Michael Sampson; foreword by Eric Carle, afterward by Steven Kellogg. Many artists contributed illustrations to this very accessible and fun book.
• Robert Frost, 1994, in the Poetry for Young People series of books; the poems’ selection, editing, annotation is by Gary D. Schmidt, and the masterful illustrations / paintings are by Henri Sorensen. My copy is of the first Scholastic edition printing, from 2000.
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A scythe is a tool used for cutting crops such as grass, wheat, etc. It consists of a pole with one or two handles along its length, and with a good-sized curved blade at the bottom.
16 Friday Aug 2013
Posted in PRESSitON word & earth
Although David Elliott was born and raised in a small town in Ohio, that didn’t prevent him from traveling the world and collecting myriad experiences. Over the years, he worked as a singer in Mexico, an English teacher in Libya, a cucumber-washer in Greece, and a popsicle-stick maker in Israel. Elliott also studied classical voice at a conservatory, with dreams of becoming an opera singer. The problem, he says, is that he wasn’t very good.
Fortunately for the world of children’s literature, Elliott became a New York Times bestselling children’s author. His many picture books and chapter books include: And Here’s to You! (Candlewick, 2009), The Transmogrification of Roscoe Wizzle (Walker Books Ltd., 2001), The Evangeline Mudd books (Candlewick), Finn Throws a Fit! (Candlewick, reprint, 2011), Jeremy Cabbage and the Living Museum (Knopf Books for Young Readers, 2008), and the picture book, In the Wild(Candlewick…
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08 Thursday Aug 2013
Posted in POMEGRANATES somewhat longer verse
The Tree in the Wood
There was a tree stood in the ground,
the prettiest tree you ever did see;
The tree in the wood, and the wood in the ground . . .
And the green grass growing all around, all around,
And the green grass growing all around.
And on this tree there was a limb,
the prettiest limb you ever did see;
The limb on the tree, and the tree in the wood,
The tree in the wood, and the wood in the ground . . .
And the green grass growing all around, all around,
And the green grass growing all around.
And on this limb there was a bough,
the prettiest bough you ever did see;
The bough on the limb, and the limb on the tree,
The limb on the tree, and the tree in the wood,
The tree in the wood, and the wood in the ground . . .
And the green grass growing all around, all around,
And the green grass growing all around.
And on this bough there was a nest,
the prettiest nest you ever did see;
The nest on the bough, and the bough on the limb,
The bough on the limb, and the limb on the tree,
The limb on the tree, and the tree in the wood,
The tree in the wood, and the wood in the ground . . .
And the green grass growing all around, all around,
And the green grass growing all around.
And in the nest there were some eggs,
the prettiest eggs you ever did see;
Eggs in the nest, and the nest on the bough,
The nest on the bough, and the bough on the limb,
The bough on the limb, and the limb on the tree,
The limb on the tree, and the tree in the wood,
The tree in the wood, and the wood in the ground . . .
And the green grass growing all around, all around,
And the green grass growing all around.
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From a version entitled “The Green Grass Growing All Around” in Adventure Awaits, Editors: W. John McIntosh, Jessie W. Shular, 1967 (a book in the series: The Canadian Ginn Basic Readers).
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Feel free to have fun with a folk verse — tweak the words / add new stanzas as you go along — to make it suit your immediate situation and mood. For example, “. . . And cicadas buzzing / the ‘skeeters whining / the junebugs zooming all around us”. The possibilities truly are just about endless. After you’re comfortable with the rhythm of the piece, the beginning of a melody to suit the words may take form in your ear, and that’s great, as it’s a real pleasure to chant / sing a poem of this sort, especially in a group with children.
06 Tuesday Aug 2013
Posted in PRESSitON word & earth
02 Friday Aug 2013
Posted in PEARLS smallest poems
Tags
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Yes: the young sparrows
If you treat them tenderly —
Thank you with droppings.
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Issa Kobayashi (1763 – 1828), one of the greatest Japanese traditional haiku poets. I came across this poem quoted in a 1991 book, The Art and Practice of Loving, written by Frank Andrews. (Name of translator of the poem not specified.)
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A haiku is a short poem, its form originating in Japan some 500 years ago. Traditionally it consisted (usually, though not always) of 17 sound bytes (in English, this averages out to equal about 12 syllables) and was written in a single line. These days, particularly in the West, the poems appear in 3 lines, and often without strict adherence to length. There remains significant loyalty, however, to the stylistic prescription that the verse contain within it a turn of a sort, a juxtaposition of two images / thoughts / elements, often tying together in an unexpected way an observation from human life to one from the natural (non-human) world . . . I like to think of it as a perception of an intersection of nature and spirit in a single instant of time.
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