quoted

Deep calleth unto deep

great mysterious
multitudinous
voice of the sea —

a composite of all
sounds of the world
brought down
by all the rivers
in their courses
through the lands —

all the sounds
the earth utters
to the heavens
in its daily life —

the tinkle and drip
of pellucid springs
hidden deep in
remote hill countries —

the rattling laughter
of summer streams
with rustling leaves
and piping birds —

the deep whisper
of the woods and
the boom and roar
as they wrestle
with the winds —

the crash of waterfalls
echoes of mountains
the rush of storms and
roll and peal of thunder —

the merry shouts
of playing children
commingled murmurs
of manifold labor and
brooding world-spirit —

the clatter and
grinding of mills
the tumultuous
straining voices
of busy towns —

the world-embracing sea
has taken in and blended
and harmonized all these
into its own eternal call —

as you, child of the world
sit there and listen
your own comes back
to you in that mighty voice —

deep calling unto deep
the soul of the sea
to the soul of the man —

—Rev. James H. Ecob, D.D. (1844–1921), from “The Call of the Universe,” Psalm 42:7 sermon, 1904, poetically abridged by Terri Guillemets, 2023

_____________________________
Ecob began his sermon: “I have long wanted some one whose soul hears, to write a poem on this subject, the call of the sea.” The good reverend already had the contents of the poem right there in his prose; I simply set it free for him and sincerely hope that the new creation is to his liking. —tg

The Poet, II

My body was once a beautiful house of marble,
Kissed to pale rose by the passionate heat of the sun,
Wherein through cunning channels flowed forever
Health-giving crimson blood in steady tides.

My eyes were then quick to see and to welcome beauty,
My lips smiled often with gratified desire,
My hands shook not, but were fit for caress or grapple,
My arms rose and my body moved in strength.

Then not a single line of any poem
Had my hands raped from my brain, but untouched and pure
They abode in the land of distant visions where no man
Heard my voice calling for them at eventide.

My blood lies in great black lakes now, sluggish and frozen,
Or fumes in like some boiling, stinging, poison brew
Till it suddenly stops in a lassitude unspoken,
Or bursts through my pores and covers me with red dew:

My eyes are bleared now and dull with sleepless midnights,
My lips are shrunken purses—their gold is spent,
My hands unsteadily clutch and paw and tremble,
My arms are as strings of macaroni bent.

And as for my chest, ’tis like a leaky air-box
Fixed to some cheap melodeon out of tune,
The bellows creak, the loose and brown keys rattle,
And the music that comes is like a dog’s sick moan.

But in my brain there seethes an adulterous hotchpotch
Of poems clean and disgusting, mad and sage;
And pain, like a dry fire, keeps them ever a-boiling
Till they splash over and blacken some wasted page.

Yes, I am a poet now to be mocked and applauded,
A turnspit that turns and must never taste the meat:
Behold how great I am, but I wait for a greater,
Even Death, who will silence the march of these crippled feet.

—John Gould Fletcher (1886–1950), “The Poet, II,” Fire and Wine, 1913

XXXI

My stiff-spread arms
Break into sudden gesture;
My feet seize upon the rhythm;
My hands drag it upwards:
Thus I create the dance.

I drink of the red bowl of the sunlight:
I swim through seas of rain:
I dig my toes into earth:
I taste the smack of the wind:
I am myself:
I live.

The temples of the gods are forgotten or in ruins:
Professors are still arguing about the past and the future:
I am sick of reading marginal notes on life,
I am weary of following false banners:
I desire nothing more intensely or completely than this present;
There is nothing about me you are more likely to notice than my being:
Let me therefore rejoice silently,
A golden butterfly glancing against an unflecked wall.

—John Gould Fletcher (1886–1950), Irradiations, 1915

Stoic

I searched the history of grass,
Beneath hawk-shadows blowing past.

I learned the timelessness of stone;
Saw forest-flesh and forest-bone
Reach briefly up, go swiftly down,
Crash in green, dissolve to brown.

Taught by decay and schooled by molder,
I can turn a stoic shoulder
To beauty spiking searching eyes
And breasts defenselessly unwise.

Against impermanence I lock
My soul, confiding it to rock.

—Frances M. Frost (1905–1959), “Stoic,” Hemlock Wall, 1929

A curious glimmering thing

“Time has proved that the function of poetry is not to impart messages, but to explore the depths of emotion.

The poet is never a teacher, but always a learner. His poem is a venture at perilous discovery. The fact of writing is not the recording of something already known to the poet; it is his method of bringing to the light things that were previously in darkness for him.

The aim of poetry is to capture those rare moments of the poet’s experience when, for good or for evil, the consciousness of life sweeps through him like a flame… the moments when he becomes passionately aware of the crises of his spirit’s secret drama, and sees a pattern taking shape in the void, and words of utterance come singing to his lips.

Out of that dizzy instant he emerges, bewildered but excitedly hopeful, bringing with him his poem. Here, he says, is a curious glimmering thing that I discovered far down in the sea of my dimly conscious spirit:  perhaps it will have a fascination for you, too; perhaps you, too, will see in its pale sphere some hint of the iridescent lights that played on its surface when in those vast deeps I found it.”

—Arthur Davison Ficke (1883–1945), “The Nature of Poetry,” 1926

I Vowed that I Would Be a Tree

I vowed that I would be a tree.
      I went up to an oak and said,
“What shall I do that I might be
A beech, an oak, or any tree,
      With branches leafing from my head?”

There was a sound of sap that ran,
      There was a wind of leaves that spoke.
“So you would cease to be a man,
And be a green tree, if you can,
      A pine, a beech, an oak?”

I answered, “I am tired of men,
      As tired as they of me.
I fain would not return again
To the perplexity of men,
      But straightway be a tree.”

There was a sound of winds that went
      To summon every oldest tree,
To hold their austere Parliament
About the thing had craved to be
      Elect of their calm company.

There was a sound of bursting tide,
      There was a wash of clanging foam,
A crumbling shore, a bursting tide.
There came a thunder that outcried,
      “Go, wretched mortal, get thee home!

“Who art thou that would be a tree,
      Least of the weeds that shoot and pass?
Bide till a Wisdom come, and see
Before a mortal be a tree,
      He first must be a blade of grass!”

—Louis Golding (1895–1958), Sorrow of War, 1919

I Prepare to Face Fifty

      “I am middle-aged. Fifty is upon me. And I am faced by a grim reaper. But it is not youth I want. It is time. And there’s too little left. What shall I do about it? Shall I waste these remaining years on people who bore me, squander them on employments that satisfy no desires, sacrifice them to the ideas of others? No. I have wasted hours upon hours on nothing but waiting, days upon days on routine that led nowhere, and a tally of weeks on nonsense and so-called diversion.

      “I had an idea that in middle age somehow I should reach a hill and beyond it would lie a promised land. Enough merely to be climbing up. Suddenly now I realize the crown of that hill is age fifty. And I know that if there is a promised land it has got to be in front of me. If I don’t find it now I never shall. So I had better face this fifty, acknowledge it is gone — whether squandered or treasured — forever, and plan what to do with this promised land, how to spend these last precious years left to me.

      “From the brow of that fifty hill, suddenly I am beginning to compute time. Do I wish to spend so much of it in my remaining years on the pursuit of youthful looks, on this cult of youth? Perhaps I am a miser with my years, but I must confess that I can no longer see value received from pursuing youth. It will bring me no higher price for my work. It will make my husband no fonder; for affection after fifty rests on something other than complexion. It will not add to my emotional satisfaction nor to the pleasures of my mind. No, I shall not waste any of my remaining years on the pursuit of smooth pink cheeks. Nor will I waste my time or worry with weight, counting calories, or other such psychological-gastronomic engagements!

      “Frankly, I do not feel the same as I did twenty years ago. Moreover, I do not want to feel the same. These new feelings — may they not be an asset instead of a liability? I will not be satisfied if my remaining years are a mere repetition of those that have gone before. I want something different. I will not spend this time in an effort to produce an illusion to myself. I will be content to look my age, to dress my age, to live my age. I will appreciate all that life has brought me. I will face fifty cheerfully.

      “Do not take this to mean that I am negating its challenges. Fifty does not mean freedom from family demands nor from the things that we are tied to by duty. Fifty brings no alchemy that enables one to plan one’s life as one might try an uncharted sea. We will always have personal and financial limitations, and we can only alter our course according to the wheel in our hands, the craft under us, the shoals and currents around us. But what we may do is decide which direction to steer and how to get the maximum of enjoyment in the steering.

      “I must be economical of time. Each day must count. I must plan for the satisfaction that is possible here, now. In youth, always before us was that will-o’-the-wisp, perfection, because there was always the hope of time to reach it. That it was always to be to-morrow did not affect our attitude of mind — that of preparing, improving, developing. But gradually it has been made plain to me that this to-morrow will never come, that as I am to-day so shall I be twenty years from now. Yes, I may improve or grow in that time, but it will be along the line already laid out — I shall not change my style, my type, my talk. In the difference between acceptance of this fact and the belief that ‘all things are possible’ lies the difference between thirty and fifty, between youth and middle-age. To those of my contemporaries who still look for the Prince to ride up and disclose a crown beneath his fedora, who still expect pumpkins to turn to coaches, this seems a tragic difference.

      “May the acceptance of the truth of fifty bring its own joys. No longer do I need to pretend. I may say things frankly. I can accept myself as middle-aged, and therefore enjoy myself. I can squeeze the utmost out of what I am and what I have. I can relax from the struggle. I shall no longer punish myself. Instead of competing, I can create. I may choose what I like, including the colors that please me — that do something to my brain, if not indeed to my soul — rather than attempting to express the best in taste and fashion. No longer do I need to try to take everything as it comes, but select what I want. And please understand:  I am not retiring — I am attaining.”

—Emily Newell Blair (1877–1951), “I Prepare to Face Fifty,” 1926, abridged

Agreed!

“I don’t know of any writer who doesn’t look back at their earlier books and think:  can we just shred them? You know, can we go door to door and collect them and shred them?”

—David Sedaris, to Bill Maher, on Real Time, HBO, 2023 March 24th

March Night

I shook off the house like a hooded cape,
And came out, free, into the March-blown street…
At a lash of the gale, at a sight of the cloud-tattered skies,
As a coat discarded,
I shook off civilization
And became wild,
And my naked soul raced the clouds,
And the flavor of the Earth was fresh and primitive…

—James Oppenheim (1882–1932), War and Laughter, 1916

Quiet desert

“The desert was quiet. The coyotes were not howling yet. I was my own howling coyote. Outwardly a comfortable-looking man in an arm-chair, smoking a pipe, I was inside a half-starved little coyote, out there on the dark desert, howling to the stars.”

—J. B. Priestley (1894–1984), Midnight on the Desert: A Chapter of Autobiography, 1917

The spaces

And do not forget the spaces. When earth’s
Heaviness pulls hard, turn to the spaces.
Their breezes will brace us — and we shall know.

—Cave A. Outlaw (1900–1996), Fugitive Hour, 1950

One boot off

“On the floor of your mind, then — is it not this that makes you a poet? — rhythm keeps up its perpetual beat. Sometimes it seems to die down to nothing; it lets you eat, sleep, talk like other people. Then it swells again and rises and attempts to sweep all the contents of your mind into one dominant dance. Tonight is such an occasion. Although you are alone, and have taken one boot off and are about to undo the other, you cannot go on with the process of undressing, but must instantly write at the bidding of the dance. You snatch pen and paper; you hardly trouble to hold the one or to straighten the other. And while you write, while the first stanzas of the dance are being fastened down, I will withdraw a little and look out of the window. A woman passes, then a man; a car glides to a stop and then — but there is no need to say what I see out of the window, nor indeed is there time, for I am suddenly recalled from my observations by a cry of rage or despair. Your page is crumpled in a ball; your pen sticks upright by the nib in the carpet… You are rasped, jarred, thoroughly out of temper. And if I am to guess the reason, it is, I should say, that the rhythm which was opening and shutting with a force that sent shocks of excitement from your head to your heels has encountered some hard and hostile object upon which it has smashed itself to pieces. Something has worked in which cannot be made into poetry; some foreign body, angular, sharp-edged, gritty, has refused to join the dance…

The poet as I guess has strained himself to include an emotion that is not domesticated and acclimatized to poetry; the effort has thrown him off his balance; he rights himself… by a violent recourse to the poetical — he invokes the moon or the nightingale. Anyhow, the transition is sharp. The poem is cracked in the middle. Look, it comes apart in my hands:  here is reality on one side, here is beauty on the other; and instead of acquiring a whole object rounded and entire, I am left with broken parts in my hands…”

—Virginia Woolf (1882–1941), letter to John Lehmann, 1931

Who Shall Measure?

From my highest hill
I watched for Antares.
Brief would be his glimmer
Where the long line of mountains
Duped the horizon
With vague, rambling mist.

And I shall never know
If that was Antares’
Eye on the earth-line,
Or the gleam of a lantern
The wild poet carried;
For God who saw both
Only laughs when I ask him.

—Olive Tilford Dargan (1869–1968), Lute and Furrow, 1922

Wilderness pathways

“The wilderness has the power to exert enormous influence on the mind of a man freshly arrived from civilization, especially if he lives alone and has but little contact with other people; some that I have known could not take the solitude, the absence of comfort and reassurance offered by the presence of other humans.

Such men have become effete in terms of personal survival in the face of natural challenges, the city is too much with them, and they don’t last. There are also those who go too far the other way, becoming misanthropes… these are the withdrawers, and they are found sprinkled loosely wherever there is a forest or a jungle, like seeds that have lost the ability to germinate in cultivated soil.

But between the quitters and the lone stayers, there is a third kind — indeed, there may be more than that, for all I know — in whom the wilderness acts as a catalyst and who, after they have experienced both the wild and the civilized, begin to form new values, to explore unknown pathways, and to realize that nature is an endlessly patient teacher with an infinite capacity to stimulate thought and to sharpen the hunger for knowledge. That is how the wilderness affected me…”

—R. D. Lawrence (1921–2003), The North Runner, 1979

Leaden Echo & Golden Echo

THE LEADEN ECHO

How to kéep—is there ány any, is there none such, nowhere known some, bow or brooch or braid or brace, láce, latch or catch or key to keep

Back beauty, keep it, beauty, beauty, beauty,… from vanishing away?

Ó is there no frowning of these wrinkles, rankèd wrinkles deep,

Dówn? no waving off of these most mournful messengers, still messengers, sad and stealing messengers of grey?

No there ’s none, there ’s none, O no there ’s none,

Nor can you long be, what you now are, called fair,

Do what you may do, what, do what you may,

And wisdom is early to despair:

Be beginning; since, no, nothing can be done

To keep at bay

Age and age’s evils, hoar hair,

Ruck and wrinkle, drooping, dying, death’s worst, winding sheets, tombs and worms and tumbling to decay;

So be beginning, be beginning to despair.

O there ’s none; no no no there ’s none:

Be beginning to despair, to despair,

Despair, despair, despair, despair.

THE GOLDEN ECHO

         Spare!

There ís one, yes I have one (Hush there!);

Only not within seeing of the sun,

Not within the singeing of the strong sun,

Tall sun’s tingeing, or treacherous the tainting of the earth’s air,

Somewhere elsewhere there is ah well where! one,

One. Yes I can tell such a key, I do know such a place,

Where whatever ’s prized and passes of us, everything that ’s fresh and fast flying of us, seems to us sweet of us and swiftly away with, done away with, undone,

Undone, done with, soon done with, and yet dearly and dangerously sweet

Of us, the wimpled-water-dimpled, not-by-morning-matchèd face,

The flower of beauty, fleece of beauty, too too apt to, ah! to fleet,

Never fleets móre, fastened with the tenderest truth

To its own best being and its loveliness of youth: it is an everlastingness of, O it is an all youth!

Come then, your ways and airs and looks, locks, maiden gear, gallantry and gaiety and grace,

Winning ways, airs innocent, maiden manners, sweet looks, loose locks, long locks, lovelocks, gaygear, going gallant, girlgrace—

Resign them, sign them, seal them, send them, motion them with breath,

And with sighs soaring, soaring síghs deliver

Them; beauty-in-the-ghost, deliver it, early now, long before death

Give beauty back, beauty, beauty, beauty, back to God, beauty’s self and beauty’s giver.

See; not a hair is, not an eyelash, not the least lash lost; every hair

Is, hair of the head, numbered.

Nay, what we had lighthanded left in surly the mere mould

Will have waked and have waxed and have walked with the wind what while we slept,

This side, that side hurling a heavyheaded hundredfold

What while we, while we slumbered.

O then, weary then whý should we tread? O why are we so haggard at the heart, so care-coiled, care-killed, so fagged, so fashed, so cogged, so cumbered,

When the thing we freely fórfeit is kept with fonder a care,

Fonder a care kept than we could have kept it, kept

Far with fonder a care (and we, we should have lost it) finer, fonder

A care kept.—Where kept? Do but tell us where kept, where.—

Yonder.—What high as that! We follow, now we follow.—Yonder, yes, yonder, yonder,

Yonder.

—Gerard Manley Hopkins (1844–1889), “The Leaden Echo and the Golden Echo,” maidens’ song from the unfinished tragedy St. Winefred’s Well, in Poems of Gerard Manley Hopkins, now first published, edited and with notes by Robert Bridges, 1918