The hills beneath him stretched out like the curves of women. Bent
to the clouds he fell from the earth which geared him prickly as would
a range of *******, then soaring higher, he dived, topping valleys
reshaped downy now into ridges slowly writhed before catching
under toe his own dazzled stare on a water loch of milk and coal-
haired body strewn out to her lily'd bones and still falling, he dropped
to the break of morn dribbling wet sand from his eyes and woke
in the sparring light of his least favourite day.
In a grainish and utter room, where hanged more than two
pictures of two people, he sank down to Sunday diminished in sighs
from the four tilting walls and blew dead inward unfolding a book.
As he reached for some volume, a baby finger nicked the hair string
of his guitar and for a moment was reminded of her voice in the bedded
vibrations. Looking on her curves he felt the soft nape of her neck
with his eyes, then those same eyes unhanded her and she, his
dejected guitar, faced him unsung in the cornered glare of his boxed
in room. He felt frost in throes all that morning and sideways out
of doors— the sun looked back on him even colder. It would be hours
now until the end of days, so after lunch he went for a walk and a bird
sang nearly the whole way.
. . . . . . .
It was much warmer than he had fared it to be outside and having wrestled
with this idea, that the day was somehow harder than his soft, flat room,
the mere remembering was rote by him to his pangs. He turned, thinking
toward other things, like the void of driven streets or the mimicking cruelty
of shadows, until he saw a sullen field and left the road to dust. He knew
that if lost, walking through the lofted hills, he would end up in the ocean
so he headed higher to the crest and over then saw a stand of trees.
And facing the water that rilled on its way, in the tall grasses he saw
patches of red, flying with the black birds and his heart, in a boat of swells,
traveled like the red patches those birds carried. Snowed on alder trees
brushed by him, but the wind was blowing in from the west and there
were beautiful things to behold. A red-tailed hawk striped the ceiling
of his day by the sea and built an island to his eye and then his head sank
droning into a syndrome of birds as he joined in silence with them all
singing;
'ta— hee— tae.'
Showers of poppies spilled to his heel and the keel-brew of rushes and
rain tasted purple on its way perning to the sky. At one stop in the middle of his
path, he came upon a purfled coil, a briar snake, its body shaped in question,
unmoved and long. The dark Orphic frieze, branding his way, it would not
listen, as if she had always been there, deaf to his song. He felt the loss
of love by echoes from his room in the out of doors. The drumming trunks,
the stringing leaves harping and the water that gurgled by stones into poems.
A Northerly blew begrudging the trunks, the leaves and the stones and by
the woods sinking taller he felt rushes of time running as breath through
gusty trees and felt chimes of things flying buttery like feathers to a bell.
. . . . . . .
But at the deeper woods opening he lost his way and became fearful,
not wanting to enter. The tallest ones, red giants with faces of evergreen
canceled out the closing sky and so he changed his way back as before
to the rounded hills. And weary from his climb he rested on the back of her
body in lands overlooking down from the brae he saw the ocean swelling
and the stars being born in wild flowers as the hills at dusk were dissolving.
After two eternal moments in peace, he rose again in the Highlands,
to the braise and harvest smell of musted hay, cottage chalk and bleating
wool. Now holding the girl draped in tartan, this time without caring he fell
into the black woods of her mien. And the milk of her body dripped out into
his and slid back waveishly until she was all hair from black becoming straw
in their bed and feathers when the raven appeared. And the flooding waned
when she flew through an opening unraveled in the thatching roof, shredded
above the funny moors.
In seconds he was swiped clear, before the shy song lamenting when
the doors, by tidal weathers, blasted open into the mackerel sky, gathering
too like vapours with the dawn, he wafted up, swept away into the airs
on Highland shoals. Now sailing above the speckled clouds in a darting
school of other drifters, he heard himself singing in heights of sways
throughout the tangle of wandering bark that stretched by branching coral
midway to the moon. A great oak tree made of lime pierced the end of blue,
nadir to its zenith and into the heavens all starry. And ringing its trunk was
a line drawn of which beneath lay the drowning world. It was as if each layer
were one part oil, the other part water. Looking down, way, way down
and down even farther, he saw the running seeds of striped minnows
who swam by up-streaming a wide river. To catch up he dropped, again,
all dressed in the colours of rain, with those gladly miners. But they swam
above the river between the rounded hills. And the waters ran runny, now
unwrinkling as does the bowl that holds the Milky Way, when someone
dappled by in whisper saying,
"Come with us twice the road is easy!"
"Where are we?" To himself he mused, as she blew away and by, like a long
dragon flying. He let his body to sink with the weeds and sedges he saw,
to a beam held with barely a nail hanging, the age old sign set, spiriting him
back again to his place. Back to the point that draws itself, as does the wind
that winds through the rushing reeds, back to the sun rising note after moon
underwater and from such still sounds was he a reel, just when the post
that was always sheering spoke out and said;
"Welcome! . . . "
"Welcome to Minerva."
The aisling (Irish for 'dream, vision', pronounced [ˈash-ling]), or vision poem, is a poetic genre that developed during the late 17th and 18th centuries in Irish language poetry.
In the aisling, Ireland appears to the poet in a vision in the form of a woman, usually young and beautiful. This female figure is generally referred to in the poems as a Spéirbhean (heavenly woman; pronounced 'spare van'). She laments the current state of the Irish people and predicts an imminent revival of their fortunes . . .
Minerva ( Athena ) was the Roman goddess of wisdom and sponsor of arts, trade, and strategy. She was born with weapons from the godhead of Jupiter. From the 2nd century BC onwards, the Romans equated her with the Greek goddess Athena. She was the ****** goddess of music, poetry, medicine, wisdom, commerce, weaving, crafts, and magic. She is often depicted with her sacred creature, an owl usually named as the "owl of Minerva", which symbolizes that she is connected to wisdom.
The celtic Gauls revered Minerva ( their name for the goddess being 'Brigit' ). In this poem the name refers to a mythic place in dream.
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