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I MEDITATE upon a swallow's flight,
Upon a aged woman and her house,
A sycamore and lime-tree lost in night
Although that western cloud is luminous,
Great works constructed there in nature's spite
For scholars and for poets after us,
Thoughts long knitted into a single thought,
A dance-like glory that those walls begot.
There Hyde before he had beaten into prose
That noble blade the Muses buckled on,
There one that ruffled in a manly pose
For all his timid heart, there that slow man,
That meditative man, John Synge, and those
Impetuous men, Shawe-Taylor and Hugh Lane,
Found pride established in humility,
A scene well Set and excellent company.
They came like swallows and like swallows went,
And yet a woman's powerful character
Could keep a Swallow to its first intent;
And half a dozen in formation there,
That seemed to whirl upon a compass-point,
Found certainty upon the dreaming air,
The intellectual sweetness of those lines
That cut through time or cross it withershins.
Here, traveller, scholar, poet, take your stand
When all those rooms and passages are gone,
When nettles wave upon a shapeless mound
And saplings root among the broken stone,
And dedicate -- eyes bent upon the ground,
Back turned upon the brightness of the sun
And all the sensuality of the shade --
A moment's memory to that laurelled head.
UNDER my window-ledge the waters race,
Otters below and moor-hens on the top,
Run for a mile undimmed in Heaven's face
Then darkening through "dark' Raftery's "cellar' drop,
Run underground, rise in a rocky place
In Coole demesne, and there to finish up
Spread to a lake and drop into a hole.
What's water but the generated soul?
Upon the border of that lake's a wood
Now all dry sticks under a wintry sun,
And in a copse of beeches there I stood,
For Nature's pulled her tragic buskin on
And all the rant's a mirror of my mood:
At sudden thunder of the mounting swan
I turned about and looked where branches break
The glittering reaches of the flooded lake.
Another emblem there! That stormy white
But seems a concentration of the sky;
And, like the soul, it sails into the sight
And in the morning's gone, no man knows why;
And is so lovely that it sets to right
What knowledge or its lack had set awry,
So atrogantly pure, a child might think
It can be murdered with a spot of ink.
Sound of a stick upon the floor, a sound
From somebody that toils from chair to chair;
Beloved books that famous hands have bound,
Old marble heads, old pictures everywhere;
Great rooms where travelled men and children found
Content or joy; a last inheritor
Where none has reigned that lacked a name and fame
Or out of folly into folly came.
A spot whereon the founders lived and died
Seemed once more dear than life; ancestral trees,
Or gardens rich in memory glorified
Marriages, alliances and families,
And every bride's ambition satisfied.
Where fashion or mere fantasy decrees
We shift about -- all that great glory spent --
Like some poor Arab tribesman and his tent.
We were the last romantics -- chose for theme
Traditional sanctity and loveliness;
Whatever's written in what poets name
The book of the people; whatever most can bless
The mind of man or elevate a rhyme;
But all is changed, that high horse riderless,
Though mounted in that saddle Homer rode
Where the swan drifts upon a darkening flood.
I meditate upon a swallow's flight,
Upon a aged woman and her house,
A sycamore and lime-tree lost in night
Although that western cloud is luminous,
Great works constructed there in nature's spite
For scholars and for poets after us,
Thoughts long knitted into a single thought,
A dance-like glory that those walls begot.

There Hyde before he had beaten into prose
That noble blade the Muses buckled on,
There one that ruffled in a manly pose
For all his timid heart, there that slow man,
That meditative man, John Synge, and those
Impetuous men, Shawe-Taylor and Hugh Lane,
Found pride established in humility,
A scene well Set and excellent company.

They came like swallows and like swallows went,
And yet a woman's powerful character
Could keep a Swallow to its first intent;
And half a dozen in formation there,
That seemed to whirl upon a compass-point,
Found certainty upon the dreaming air,
The intellectual sweetness of those lines
That cut through time or cross it withershins.

Here, traveller, scholar, poet, take your stand
When all those rooms and passages are gone,
When nettles wave upon a shapeless mound
And saplings root among the broken stone,
And dedicate - eyes bent upon the ground,
Back turned upon the brightness of the sun
And all the sensuality of the shade -
A moment's memory to that laurelled head.
Sean M O'Kane Sep 2018
“Oh you’re Irish?” he said.
“Did you learn the language much?” he said.
Honestly, what can I tell him? I was raised in the North - a ****** wasteland for such a naïve question.
Vague memories of fumbled classes where our secret history was ditched just to get straight into the basics (Cad é mar atá tú?)
No – seriously - I was not tied to it – it was anonymous to me at that age.
Forgotten like some distant echo of once visiting Coole House as a child.
Sure, we knew it was “important”, “our national language”, “heritage” etc. and we were warned it was quickly slipping into the drain of Western hegemony.
But it was baffling, unsexy and only the blunt-faced humorless IRA thugs amongst us were in any way keen.
Then it was gone, just like the faded memories of “The Children of Lir” from my primary school.

Looking back I wonder, what was the point?
A half-full measure paying lip service to our identity.
Teachers and headmasters terrified of the grand colonial reveal that the lessons might have hinted at (were they trying to stop us being Provos-in-waiting?).
And all of this against the awful shame of a common tongue that had no foe yet was slowly vanquishing from our shores.
It could have all been so different.
Rather than rushing to get something in our empty skulls, they could have given us a sense of joy, pride & belief in our own culture.
Calling on Yeats, Behan, Heaney and others to drown us in the language of our ancestors.
Telling the stories of old that only the academics & hippies were keeping from us then.
You know, it might kept us all on the same beautifully illuminated page.
We might have been comfortable in our skins and open to others,
not looking deep into our worthlessness and lashing out at them.
Language is being and language is connecting, I’ve learnt.
But that’s not something I got from my secondary school.

June-July 2018
Obviously, Teanga is the Irish word for language. "Cad é mar atá tú" is a basic phrase every Irish child would remember from the limited experience of the language that we had then - "how are you?".  I did visit Coole House around 1980 (when I was 10)  but had no idea at the time of its significance as the 'petri dish' of modern Irish culture - the home of Lady Gregory whose influence on many of our great writers was fundamental to their survival & their continuing importance today. "The Children of Lir" is an old fantastical Irish myth that was often read to very  young children during their  "story time".
The trees are in their autumn beauty,
The woodland paths are dry,
Under the October twilight the water
Mirrors a still sky;
Upon the brimming water among the stones
Are nine-and-fifty swans.

The nineteenth autumn has come upon me
Since I first made my count;
I saw, before I had well finished,
All suddenly mount
And scatter wheeling in great broken rings
Upon their clamorous wings.

I have looked upon those brilliant creatures,
And now my heart is sore.
All's changed since I, hearing at twilight,
The first time on this shore,
The bell-beat of their wings above my head,
Trod with a lighter tread.

Unwearied still, lover by lover,
They paddle in the cold
Companionable streams or climb the air;
Their hearts have not grown old;
Passion or conquest, wander where they will,
Attend upon them still.

But now they drift on the still water,
Mysterious, beautiful;
Among what rushes will they build,
By what lake's edge or pool
Delight men's eyes when I awake some day
To find they have flown away?
Mary Gay Kearns Mar 2019
The Wild Swans at Coole.
BY WILLIAM BUTLER YEATS
The trees are in their autumn beauty,
The woodland paths are dry,
Under the October twilight the water
Mirrors a still sky;
Upon the brimming water among the stones
Are nine-and-fifty swans.

The nineteenth autumn has come upon me
Since I first made my count;
I saw, before I had well finished,
All suddenly mount
And scatter wheeling in great broken rings
Upon their clamorous wings.

I have looked upon those brilliant creatures,
And now my heart is sore.
All's changed since I, hearing at twilight,
The first time on this shore,
The bell-beat of their wings above my head,
Trod with a lighter tread.

Unwearied still, lover by lover,
They paddle in the cold
Companionable streams or climb the air;
Their hearts have not grown old;
Passion or conquest, wander where they will,
Attend upon them still.

But now they drift on the still water,
Mysterious, beautiful;
Among what rushes will they build,
By what lake's edge or pool
Delight men's eyes when I awake some day
To find they have flown away?
I walked among the seven woods of Coole:
Shan-walla, where a willow-hordered pond
Gathers the wild duck from the winter dawn;
Shady Kyle-dortha; sunnier Kyle-na-no,
Where many hundred squirrels are as happy
As though they had been hidden hy green houghs
Where old age cannot find them; Paire-na-lee,
Where hazel and ash and privet hlind the paths:
Dim Pairc-na-carraig, where the wild bees fling
Their sudden fragrances on the green air;
Dim Pairc-na-tarav, where enchanted eyes
Have seen immortal, mild, proud shadows walk;
Dim Inchy wood, that hides badger and fox
And marten-cat, and borders that old wood
Wise Buddy Early called the wicked wood:
Seven odours, seven murmurs, seven woods.
I had not eyes like those enchanted eyes,
Yet dreamed that beings happier than men
Moved round me in the shadows, and at night
My dreams were clown hy voices and by fires;
And the images I have woven in this story
Of Forgael and Dectora and the empty waters
Moved round me in the voices and the fires,
And more I may not write of, for they that cleave
The waters of sleep can make a chattering tongue
Heavy like stone, their wisdom being half silence.
How shall I name you, immortal, mild, proud shadows?
I only know that all we know comes from you,
And that you come from Eden on flying feet.
Is Eden far away, or do you hide
From human thought, as hares and mice and coneys
That run before the reaping-hook and lie
In the last ridge of the barley? Do our woods
And winds and ponds cover more quiet woods,
More shining winds, more star-glimmering ponds?
Is Eden out of time and out of space?
And do you gather about us when pale light
Shining on water and fallen among leaves,
And winds blowing from flowers, and whirr of feathers
And the green quiet, have uplifted the heart?
I have made this poem for you, that men may read it
Before they read of Forgael and Dectora,
As men in the old times, before the harps began,
Poured out wine for the high invisible ones.
Come, my Ardelia, to this bowre,
Where kindly mingling Souls a while,
Let's innocently spend an houre,
And at all serious follys smile

Here is no quarrelling for Crowns,
Nor fear of changes in our fate;
No trembling at the Great ones frowns
Nor any slavery of state.

Here's no disguise, nor treachery
Nor any deep conceal'd design;
From blood and plots this place is free,
And calm as are those looks of thine.

Here let us sit and bless our Starres
Who did such happy quiet give,
As that remov'd from noise of warres.
In one another's hearts we live.

We should we entertain a feare?
Love cares not how the world is turn'd.
If crouds of dangers should appeare,
Yet friendship can be unconcern'd.

We weare about us such a charme,
No horrour can be our offence;
For misheif's self can doe no harme
To friendship and to innocence.

Let's mark how soone Apollo's beams
Command the flocks to quit their meat,
And not intreat the neighbour -- streams
To quench their thirst, but coole their heat.

In such a scorching Age as this,
Whoever would not seek a shade
Deserve their happiness to misse,
As having their own peace betray'd.

But we (of one another's mind
Assur'd,) the boistrous world disdain;
With quiet souls, and unconfin'd,
Enjoy what princes wish in vain.
B Kenneth Avery Nov 2012
Dedication:

Nectare bred of an artist's haught testament—
        brings only stunted buds of tastelessness.
Be it naught for the height in numerous tidal of Muse—
        to cause the strike of warmth in bruise.

Upon the cheeks shadow'd in might—
        strength of amour upon near-sight.
You!—Blossom, are of a frightful power—
        to journey nestled mind of dark tower.

As though a hawk perched higher than the peak—
        of mountainous and controlling streaks,
Colourblind by potent affair lost—
        by centuries of sicken'd fever crossed.

By and by another name, honeyed pursuit—
        yearning that cause a poet becoming mute.
Meagerly, he instead scribes his burning allegory—
        that shall cause a life—eternal fragmentary.



Dangers of Kimberleigh

“Love Jo all your days, if you choose, but don't let it spoil you, for it's wicked to throw away so many good gifts because you can't have the one you want.”
― Louisa May Alcott, "Little Women"

I.

When the morning demands you and I—
        our ghosts shall pass empty resides,
Against fields where lines opposing light, force and bind—
        of Angel's breath and Dæmon's spine.

Of shrieks louder than their first meeting's kiss—
        residing now—perfection upon midnight's bliss,
Abiding near the tender gardens upon the blinding dark—
        creating haste of love-song made by grave Skylark.

Who in joyous play—should cause collapse—
        towards serene, augmented lapse.
Lapse of falling, of where gentle screams—
        of every child that's ever been,

Who stroke themselves against empty glass—
        and where visions pray upon the grasp,
Of wind—Of blinding—Of melody—
        to hold faint—Immortality.


II.

This shall be where morning seeks—
        no longer calming of beauty's cheek.
Instead to lash with vain and hostile mount—
        crimson over dashed and harsh doubt.

Until image engraved by forgiving rite—
        speaking neglect of fiend or fiendish blight.
In-versed—coole angelic heart to passéd—
        passage beside Lilac's memory in mortal castéd.

In the unwashed Earth, where the unwashed play—
        'till they unfairly capture it from younglings— Away.
Lonesomeness of watchtowers in gossamer's breast—
        when airy words strangled from bless.
  
Reachéd by the hand—abide in fable—
        quiet tho—in fruitation, a single silver Maple.
Shyly envisioned inside salvation's solitude—
        where tenderness drowns tenderéd concludes.


III.

The sister was lovely—inside my sight—
        in our union—created Nature's first night.
Through our throats rendered fragile lullaby—
        which slaughtered silence and made soldiers cry.

Her bristles—exploit in darkness—I could not see—
        or merely recollect in memory.
A mouth moving inside of mine—
        creatures in mawkery of untouched divine.

Eyes whom beatéd harder than the breeze—
        to remind me—gently of the ease.
Of being caught in cognitive stance.
        which leaves surrender to in traditional, disciplined dance.

Upon the backs of universal forestry—
        and inside their stomachs to where we would meet.
Offended to death by requiem—
        made inside our faint dream's drum.


IV.

Where dreamer's would lash upon in endless screams—
        innumerable Rubies ruin'd before their first gleam.
Upon reflection in lover's loss—
        diminished to demise before their first gloss.

It is upon the fool's finest end—
        where lies his fantasy—condemned.
The jester who remains as undefeat—
        before death shall cause lackluster's retreat.

Unaware tho, in current mode—
        as body by body closely will hold.
And messages of Gold conspire in streaks—
        immersed—affection in mind eternally correlates oblique.

Ringing and humming throughout what laid—
        against blonde grass from Sin was made.
Refraction's cast that betrayed—to promise me—
        endless nights of haunting harmonies.


V.

Held tightly in grieving bourne—
        broken—in new blood is sworn.
Across the snow-cover'd Evergreens—
        where the temptress grave is left unseen.

Not upon her kiss—did darkness fall—
        alone—in shining pieces did crawl,
Against creator—and thus creator hence—
        bitter loving shrouded by bare defense.

As her finite skin had laid eternal flesh—
        of what laid inside Pine's parting mesh.
Holding and crying out for uncertainty—
       feelings moaned into sudden Mercenaries.

Morose and fledgling in their stand—
        spiritéd to Death's light misunderstand,
Of peerless eyes and broken brooks by the sea—
        casting ruined cloth over our Evergreens.


VI.

Unfurnished dawn may scour for length of furnished night—
        quick—until mirroréd ebbed ocean does wrong.
To consume the idles of Man's afraid mind—
        fairest—lest His idles struck into divine.

Exclaiméd none tho, in archaic lust—
        deceased—firmest in high robust.
Where pleasure finds comforted pause—
        inside arched-back in neglected cause.

Betray the shallow grimace flee—
        and ethereal composed by the breeze.
Lies delicate delusion before sorrow—
        that shall thieve away the Artist's morrow.

And in thievery is where the Angels lie—
        angelic beasts with unlawful guise,
In courts—castrated by the throat—
        hardened in assumption by blackened elope.
Argument: A paramour in his youth reminisces upon the topic of attachment and devotion in his unrequited infatuation after having the harsh reality of yearning and his memories come across his frail mind due to waking up from a dream he thought of as being a nightmarish realm that resided in a deep sleep after an exhaustive and forlorn'd day. The poem appears in three phases: The false appearance of the admirer finally inside a catacomb of mutual love in bliss after a long-while of misery; the confusion and untouched heart slowly being composed inside a mixture of both love and loss; and finally, the innamorato becoming awake completely and being torn by the realization of the falsehood of his fantasies and wishing to be able to go back to his previous slumber and having the image return untouched and yet also having the horrific realization of having the aspiration of mutual love, seeing it, intellectually, as futile.
A Henslo Feb 2019
DE SNEEUW VINDT HAAR EINDE OP EEN WARM GAZON
EN WAT OVERBLIJFT

De diepste indruk maakt een dik pak sneeuw.
Rustig residu die middag,
opziend naar een wonderblauwe hemel.

Sneeuw biedt je weer een lijf, zet je een hoed op,
begraaft je in haar tweede natuur, met een schijnsel
van sepia, lekkend schemerblauw.

De sneeuw friemelt aan je voegen,
wil naar binnen.

In de sneeuw ben je engelachtig
en zij is niet beangstigend, zij lijkt ons veeleer
te omarmen en te beschermen
op onze weg door de stad

Zelfs middelbaar ben je weer even kind.
De sneeuw vangt ons met haar gepeperde adem
en geeft frisse lucht.

Zij komt en gaat en komt weer terug
Zij hoopt zich op zonder
hoop op duurzaamheid
& wenst niet te blijven.

De sneeuw, ik benijd haar,
dat zij zal verdwijnen
laat haar koud

Zij is haar eigen landschap,
met haar coole witkalk
creëert ze
een albasten pracht

trekt zich dan terug zonder klacht.
English Dutch transposition by A.Henslo
Original poem by Deborah Landau, 2018

The Snow Goes to the Gallows of a Warm Grass  and What Survives

The deepest redress is a thick and fulsome snow.
Peaceful prevail of afternoon,
looking out at this bluish marvel the air.

The snow realizes you a body, puts on you a hat,
tombs you in its second nature, with consequence
of sepia, a leaking dusky blue.

The snow fumbles at your borders,
wants a way in.

In the snow we are angelic
and it’s not discouraging in fact it is marvellous
when the snow has its arms around us
and we walk the streets as if safe.

You’re a child, even in midlife.
The snow clouds us in its peppery breath
and the air comes fresh.

It comes and goes and comes again
it doesn’t aim for durability
it accumulates for the sake of it
& doesn’t want to last.

The snow, I envy it,
it will vanish
but it doesn’t care,

it’s its own garden,
its own cool chalky paint―
kicks up
an alabaster splendor

then retreats without complaint.
Michael John Feb 2022
so long to another time
just a fall
finger print in crime-
to hit a wall
some bitter wine
love on  call-
(hold the line!)
and that was all..
on the toss of a dime
a late night brawl
ah, she was fine
(lithe and tall)
far gone say neon
the rain bawls
and crying
his stammer and stall
-her number a crucifiction
she has  *****
for two ear rings
silver and gol´d..
spies a phone!
and play a dirge
lay of stone
his thirst
someone written
some thing cursed
451-
(lust a prefix-)
(hey!we are nt done
you one fancy trick!
yo sweet one!?
-resentment thick
like alone-
bitter as pitch
hard as bone
called it..)
a ring tones
ring-ring-silver
and gold-hello-
a disembodied voice
bring-how expect me
to answer when i
blowing your best friend-yo
mama-you there!?
our hero takes to the
air-
you there!
like he paper
in a fire blown
to coole air
woed and woe
!
you there,darling,
i wrote this,
like a poem within
a poem-as you wiped
the blood off my face-
called-(silver and gold-)

I was low so god
knew he brought you
to me..
(when i lay k.o.´d)
and i believed anew
as i saw your eyes
two fallen stars
from the firmenent
such a treasure hoved?!
(of silver and gold..!)

(beep-as a man sows
so shall he reap..)

so long a time to
another one
the begining to
the end from
genesis to revelation
451 the ignition temperature of paper..

— The End —