I'm posting a poem I just finished yesterday. It's a bit lengthy but if you have the time to look at it I'd appreciate any feedback you might have. I'd like to submit this one (which is why I'm posting it here now rather than wait to show you at the end of August.) Some of the references will make fuller sense if you've read Matthew Arnold's famous poem Dover Beach in which the poet finds in the sea, once an analogy for faith, the ebbing of belief and hope until all that's left is merely human love.
Antiqus
Dockweiler Beach
I
The Lord God will wipe away tears from all faces.
Is 25:8
I came to find myself upon this strand
My chest to test against the sea,
To find if once for all I'd been unmanned
Or if some virtue held with me.
When last I left my print upon this shore
I was thirteen and broken as
A wave against the stone my father bore
Upon his cloak of fresh-laid grass.
I threw myself into the breaking waves,
My body lithe and taut with youth,
As though to throw a stone at Him Who saves,
For death belied His promised truth.
In raucous foam I thrashed about until
A tranquil light appeared above;
Around in all directions azure hills
Illumined with empathic love.
II
Whoever therefore is not illuminated by splendors as great as those to be found in created things is blind...
St. Bonaventure
Yet ceaseless seasons change their lights and years
Have run their course through heaven's tract.
Forever marching forth titanic spheres
Prohibit man from turning back.
A silver dusting now adorns my head
As silver marks the span of time
Since then, when burdened with that mortal dread,
On ocean waves I sought to climb -
And climbing sought to reach a safer height
Above the frightful risk of love;
On rolling swells I grieved his vanished light
With grief the sea alone could move.
Now love has died again, a living death
This time - my own - for she still lives
While vanquished I now labor for my breath
And suffer what the mind relives.
Above and west hangs heaven's glowing lamp,
The ocean flicks up drops of light,
Smooth sand beneath my feet is cool and damp,
The green waves cresting brilliant white.
A thought descends from where a sea-gull glides:
Was Arnold right? and Sophocles?
Is hopelessness supplied by edgeless tides,
Are faith and love just vanities?
As hunted men who fled across dank moors
In ages past were left to try
Their waning hope against cathedral doors,
To nature's church I bring my cry:
O saving sea! Receive me once again!
Dissolve the tears on land unshed,
Unleash your fearsome force upon this pain;
"Crucify!" is the word I said.
With thunderous crash the heaving brine denied
The light; tumultuous and cold
The ocean's undercurrent, unespied,
Secreted me within its hold.
Then - umbral light, opaque, a gleaming glaze
Above my shadowed eyes, and air
Where sea gives way; indigotic hues and haze
Combine and issue everywhere.
III
Father, you are holy indeed,
and all creation rightly gives you praise.
Liturgy of the Eucharist, Eucharistic Prayer III
So far from Dover Beach where, it is said,
The note of ebbing faith was heard to moan,
I see creation readied on its own
As though to offer thanks and praise instead.
Organic sacramentals find their place:
The ocean like a cobalt altar cloth
Unfurled across the table of the world,
Impervious to time's consuming moth;
A humid, misty incense lightly whirls
Toward the open heart of cosmic space;
Surrounding wavelets gleam like lighted wicks,
Or souls of those deceased as yet unclaimed
By heaven's righteous Judge; they wait unnamed
The promised whitened tablet He'll affix.
In tune with all of this, pelagic hymns
Transform the grating roar the poet found
So sad - a dreary tone of sundry rocks -
To modern man's enlightened ear this sound
Convinces him that all creation mocks
Belief in sacred light that never dims.
Yet listen twice, you'll hear the hope of man
Suggesting all subsists within a plan.
Let Sophocles abide Aegean woe
And tragedy, yet waters also laugh;
I've scanned Earth's shores and found faith's afterglow
Where Arnold only heard its epitaph.
I find no basis now for man's regret
Since I and something more than I have met.
Ah, Lord! such love attends this natural mass!
What alchemy converts our skeptic eyes
but Faith, which through the world (not from) does pass
Believing what creation testifies.
Subscribe to:
Post Comments (Atom)
2 comments:
Antiquus, since part of our task is the occasional hair-splitting, here's my feedback. Best of luck in your submission--this is a great poem!
I really like the "sound" in this poem. Many lines stand out--one, for instance--"O saving sea! Receive me once again!"
You make a powerful simile in part I, quatrain 2, subtly conveying the speaker's background (losing a father at 13). However, I'm uncertain about the grass being a "cloak," since this seems to make the tombstone more of a brooch.
How can one "Dissolve the tears on land unshed," if unshed?
In the line, "My body lithe and taught with youth," do you mean to pun (oxymoronically), juxtaposing "taut" with "lithe"? "Taught with youth" is a curious phrase in itself, and though I think I understand it intuitively, the literal meaning escapes me.
I especially like the last quatrain of part II. "Umbral light" is an excellent phrase--but perhaps an oxymoron, since "umbra" denotes shade/shadow.
I would think all sacramentals would be organic... in some manner...
In part III, a typo? "In tune with all of this pelagic hymns"--should be these?
I like the phrase, "faith's afterglow"--it connects Arnold's "sea of faith" with your own "azure hills / Illumined with empathic love."
Could you comment on the changing form from parts I/II into III? Why do the balanced rhymes of the first two sections change into the fluctuating pattern of part III? Seems like it should be the other way around?
Great poem--thanks, Antiquus!
Gruffhelm - Thanks for taking the time to look at the poem. I do appreciate it. And your observations are perspicacious as always.
The "taught with youth" phrase is a typo I didn't catch. It should be "taut with youth."
"In tune with all of this pelagic hymns" is correct but perhaps requires a comma. "In tune with all of this, pelagic hymns" The meaning being, in tune with all of this I see around me and which has just been described.
I think it's a great observation you make about the tombstone as brooch on the cloak of fresh-laid grass. Even construed that way, the image still strikes me as right. Isn't that what a tombstone is? A decorative badge affixed to the earthen "fabric" of the grave? A tombstone is certainly much less, much smaller than what it signifies. So in the end, I don't think I find the image problematic.
"Dissolve the tears on land unshed" is a despicable employment of inverted word order which Paul Lake at Firt Things specifically warned me not to do since E.E. Cummings told Yeats in a letter to stop doing it. The meaning is that the sea is the place of release for the narrator. The tears of grief are held in check on land but released into the sea where they are dissolved. Perhaps this could be made clearer?
I take your point, too, about the change in rhyme in Part III. The waters becoming more choppy, as it were. Of course, changing that would mean restructuring the whole poem. I think the change is in part due my becoming a little bored with the more regulated meter of Parts I and II. Although there is a back and forth motion in Parts I and II. It's a 5/4 motion meant to mimick the in and out motion of waves. Each quatrain begins with a line of five feet and is followed by a line of four feet. I'm not sure if this is noticeable or not. In Part III, the rhyme scheme changes but the meter is the same throughout, iambic pentameter. Basically, I just wanted to change it up a bit and get a little more creative and after looking at Arnold's Dover Beach again and seeing how he changed the rhythm of his poem here and there, I figured why not?
I've wondered if Part III shouldn't stand on its own as a separate poem.
Really great parsing, Gruffhelm. Thanks.
Post a Comment