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EJR Oct 2015
maybe i got no time
to think of words that will rhyme

even if it's out of my system
to make an unrhymed poem,
i will write one for you.
..
..
too tired to stay
only to be pushed away

too tired to exert effort
on people who doesn't know my worth

too tired to care
nothing left for myself to spare

and maybe like an unrhymed poem
your verses seemed like mayhem
but i still love them
every **** bit of them.

and maybe like a rhyming poem
i can never get you out of my system

God knows how hard i tried
but i'm tired

*in an attempt to make an unrhymed poem, i still wrote a rhyming one at the end.
you were my totem of home in this foreign place.

now, this foreign place seems more foreign
whenever i see your face
ConnectHook Feb 2016
by John Greenleaf Whittier  (1807 – 1892)

“As the Spirits of Darkness be stronger in the dark, so Good Spirits which be Angels of Light are augmented not only by the Divine Light of the Sun, but also by our common Wood fire: and as the celestial Fire drives away dark spirits, so also this our Fire of Wood doth the same.”

        COR. AGRIPPA,
           Occult Philosophy, Book I. chap. v.


Announced by all the trumpets of the sky,
Arrives the snow; and, driving o’er the fields,
Seems nowhere to alight; the whited air
Hides hills and woods, the river and the heaven,
And veils the farm-house at the garden’s end.
The sled and traveller stopped, the courier’s feet
Delayed, all friends shut out, the housemates sit
Around the radiant fireplace, enclosed
In a tumultuous privacy of storm.


                                       EMERSON

The sun that brief December day
Rose cheerless over hills of gray,
And, darkly circled, gave at noon
A sadder light than waning moon.
Slow tracing down the thickening sky
Its mute and ominous prophecy,
A portent seeming less than threat,
It sank from sight before it set.
A chill no coat, however stout,
Of homespun stuff could quite shut out,
A hard, dull bitterness of cold,
That checked, mid-vein, the circling race
Of life-blood in the sharpened face,
The coming of the snow-storm told.
The wind blew east; we heard the roar
Of Ocean on his wintry shore,
And felt the strong pulse throbbing there
Beat with low rhythm our inland air.

Meanwhile we did our nightly chores, —
Brought in the wood from out of doors,
Littered the stalls, and from the mows
Raked down the herd’s-grass for the cows;
Heard the horse whinnying for his corn;
And, sharply clashing horn on horn,
Impatient down the stanchion rows
The cattle shake their walnut bows;
While, peering from his early perch
Upon the scaffold’s pole of birch,
The **** his crested helmet bent
And down his querulous challenge sent.

Unwarmed by any sunset light
The gray day darkened into night,
A night made hoary with the swarm
And whirl-dance of the blinding storm,
As zigzag, wavering to and fro,
Crossed and recrossed the wingàd snow:
And ere the early bedtime came
The white drift piled the window-frame,
And through the glass the clothes-line posts
Looked in like tall and sheeted ghosts.

So all night long the storm roared on:
The morning broke without a sun;
In tiny spherule traced with lines
Of Nature’s geometric signs,
And, when the second morning shone,
We looked upon a world unknown,
On nothing we could call our own.
Around the glistening wonder bent
The blue walls of the firmament,
No cloud above, no earth below, —
A universe of sky and snow!
The old familiar sights of ours
Took marvellous shapes; strange domes and towers
Rose up where sty or corn-crib stood,
Or garden-wall, or belt of wood;
A smooth white mound the brush-pile showed,
A fenceless drift what once was road;
The bridle-post an old man sat
With loose-flung coat and high cocked hat;
The well-curb had a Chinese roof;
And even the long sweep, high aloof,
In its slant spendor, seemed to tell
Of Pisa’s leaning miracle.

A prompt, decisive man, no breath
Our father wasted: “Boys, a path!”
Well pleased, (for when did farmer boy
Count such a summons less than joy?)
Our buskins on our feet we drew;
With mittened hands, and caps drawn low,
To guard our necks and ears from snow,
We cut the solid whiteness through.
And, where the drift was deepest, made
A tunnel walled and overlaid
With dazzling crystal: we had read
Of rare Aladdin’s wondrous cave,
And to our own his name we gave,
With many a wish the luck were ours
To test his lamp’s supernal powers.
We reached the barn with merry din,
And roused the prisoned brutes within.
The old horse ****** his long head out,
And grave with wonder gazed about;
The **** his ***** greeting said,
And forth his speckled harem led;
The oxen lashed their tails, and hooked,
And mild reproach of hunger looked;
The hornëd patriarch of the sheep,
Like Egypt’s Amun roused from sleep,
Shook his sage head with gesture mute,
And emphasized with stamp of foot.

All day the gusty north-wind bore
The loosening drift its breath before;
Low circling round its southern zone,
The sun through dazzling snow-mist shone.
No church-bell lent its Christian tone
To the savage air, no social smoke
Curled over woods of snow-hung oak.
A solitude made more intense
By dreary-voicëd elements,
The shrieking of the mindless wind,
The moaning tree-boughs swaying blind,
And on the glass the unmeaning beat
Of ghostly finger-tips of sleet.
Beyond the circle of our hearth
No welcome sound of toil or mirth
Unbound the spell, and testified
Of human life and thought outside.
We minded that the sharpest ear
The buried brooklet could not hear,
The music of whose liquid lip
Had been to us companionship,
And, in our lonely life, had grown
To have an almost human tone.

As night drew on, and, from the crest
Of wooded knolls that ridged the west,
The sun, a snow-blown traveller, sank
From sight beneath the smothering bank,
We piled, with care, our nightly stack
Of wood against the chimney-back, —
The oaken log, green, huge, and thick,
And on its top the stout back-stick;
The knotty forestick laid apart,
And filled between with curious art

The ragged brush; then, hovering near,
We watched the first red blaze appear,
Heard the sharp crackle, caught the gleam
On whitewashed wall and sagging beam,
Until the old, rude-furnished room
Burst, flower-like, into rosy bloom;
While radiant with a mimic flame
Outside the sparkling drift became,
And through the bare-boughed lilac-tree
Our own warm hearth seemed blazing free.
The crane and pendent trammels showed,
The Turks’ heads on the andirons glowed;
While childish fancy, prompt to tell
The meaning of the miracle,
Whispered the old rhyme: “Under the tree,
When fire outdoors burns merrily,
There the witches are making tea.”

The moon above the eastern wood
Shone at its full; the hill-range stood
Transfigured in the silver flood,
Its blown snows flashing cold and keen,
Dead white, save where some sharp ravine
Took shadow, or the sombre green
Of hemlocks turned to pitchy black
Against the whiteness at their back.
For such a world and such a night
Most fitting that unwarming light,
Which only seemed where’er it fell
To make the coldness visible.

Shut in from all the world without,
We sat the clean-winged hearth about,
Content to let the north-wind roar
In baffled rage at pane and door,
While the red logs before us beat
The frost-line back with tropic heat;
And ever, when a louder blast
Shook beam and rafter as it passed,
The merrier up its roaring draught
The great throat of the chimney laughed;
The house-dog on his paws outspread
Laid to the fire his drowsy head,
The cat’s dark silhouette on the wall
A couchant tiger’s seemed to fall;
And, for the winter fireside meet,
Between the andirons’ straddling feet,
The mug of cider simmered slow,
The apples sputtered in a row,
And, close at hand, the basket stood
With nuts from brown October’s wood.

What matter how the night behaved?
What matter how the north-wind raved?
Blow high, blow low, not all its snow
Could quench our hearth-fire’s ruddy glow.
O Time and Change! — with hair as gray
As was my sire’s that winter day,
How strange it seems, with so much gone
Of life and love, to still live on!
Ah, brother! only I and thou
Are left of all that circle now, —
The dear home faces whereupon
That fitful firelight paled and shone.
Henceforward, listen as we will,
The voices of that hearth are still;
Look where we may, the wide earth o’er,
Those lighted faces smile no more.

We tread the paths their feet have worn,
We sit beneath their orchard trees,
We hear, like them, the hum of bees
And rustle of the bladed corn;
We turn the pages that they read,
Their written words we linger o’er,
But in the sun they cast no shade,
No voice is heard, no sign is made,
No step is on the conscious floor!
Yet Love will dream, and Faith will trust,
(Since He who knows our need is just,)
That somehow, somewhere, meet we must.
Alas for him who never sees
The stars shine through his cypress-trees!
Who, hopeless, lays his dead away,
Nor looks to see the breaking day
Across the mournful marbles play!
Who hath not learned, in hours of faith,
The truth to flesh and sense unknown,
That Life is ever lord of Death,
And Love can never lose its own!

We sped the time with stories old,
Wrought puzzles out, and riddles told,
Or stammered from our school-book lore
“The Chief of Gambia’s golden shore.”
How often since, when all the land
Was clay in Slavery’s shaping hand,
As if a far-blown trumpet stirred
Dame Mercy Warren’s rousing word:
“Does not the voice of reason cry,
Claim the first right which Nature gave,
From the red scourge of ******* to fly,
Nor deign to live a burdened slave!”
Our father rode again his ride
On Memphremagog’s wooded side;
Sat down again to moose and samp
In trapper’s hut and Indian camp;
Lived o’er the old idyllic ease
Beneath St. François’ hemlock-trees;
Again for him the moonlight shone
On Norman cap and bodiced zone;
Again he heard the violin play
Which led the village dance away.
And mingled in its merry whirl
The grandam and the laughing girl.
Or, nearer home, our steps he led
Where Salisbury’s level marshes spread
Mile-wide as flies the laden bee;
Where merry mowers, hale and strong,
Swept, scythe on scythe, their swaths along
The low green prairies of the sea.
We shared the fishing off Boar’s Head,
And round the rocky Isles of Shoals
The hake-broil on the drift-wood coals;
The chowder on the sand-beach made,
Dipped by the hungry, steaming hot,
With spoons of clam-shell from the ***.
We heard the tales of witchcraft old,
And dream and sign and marvel told
To sleepy listeners as they lay
Stretched idly on the salted hay,
Adrift along the winding shores,
When favoring breezes deigned to blow
The square sail of the gundelow
And idle lay the useless oars.

Our mother, while she turned her wheel
Or run the new-knit stocking-heel,
Told how the Indian hordes came down
At midnight on Concheco town,
And how her own great-uncle bore
His cruel scalp-mark to fourscore.
Recalling, in her fitting phrase,
So rich and picturesque and free
(The common unrhymed poetry
Of simple life and country ways,)
The story of her early days, —
She made us welcome to her home;
Old hearths grew wide to give us room;
We stole with her a frightened look
At the gray wizard’s conjuring-book,
The fame whereof went far and wide
Through all the simple country side;
We heard the hawks at twilight play,
The boat-horn on Piscataqua,
The loon’s weird laughter far away;
We fished her little trout-brook, knew
What flowers in wood and meadow grew,
What sunny hillsides autumn-brown
She climbed to shake the ripe nuts down,
Saw where in sheltered cove and bay,
The ducks’ black squadron anchored lay,
And heard the wild-geese calling loud
Beneath the gray November cloud.
Then, haply, with a look more grave,
And soberer tone, some tale she gave
From painful Sewel’s ancient tome,
Beloved in every Quaker home,
Of faith fire-winged by martyrdom,
Or Chalkley’s Journal, old and quaint, —
Gentlest of skippers, rare sea-saint! —
Who, when the dreary calms prevailed,
And water-**** and bread-cask failed,
And cruel, hungry eyes pursued
His portly presence mad for food,
With dark hints muttered under breath
Of casting lots for life or death,

Offered, if Heaven withheld supplies,
To be himself the sacrifice.
Then, suddenly, as if to save
The good man from his living grave,
A ripple on the water grew,
A school of porpoise flashed in view.
“Take, eat,” he said, “and be content;
These fishes in my stead are sent
By Him who gave the tangled ram
To spare the child of Abraham.”
Our uncle, innocent of books,
Was rich in lore of fields and brooks,
The ancient teachers never dumb
Of Nature’s unhoused lyceum.
In moons and tides and weather wise,
He read the clouds as prophecies,
And foul or fair could well divine,
By many an occult hint and sign,
Holding the cunning-warded keys
To all the woodcraft mysteries;
Himself to Nature’s heart so near
v That all her voices in his ear
Of beast or bird had meanings clear,
Like Apollonius of old,
Who knew the tales the sparrows told,
Or Hermes, who interpreted
What the sage cranes of Nilus said;
A simple, guileless, childlike man,
Content to live where life began;
Strong only on his native grounds,
The little world of sights and sounds
Whose girdle was the parish bounds,
Whereof his fondly partial pride
The common features magnified,
As Surrey hills to mountains grew
In White of Selborne’s loving view, —
He told how teal and loon he shot,
And how the eagle’s eggs he got,
The feats on pond and river done,
The prodigies of rod and gun;
Till, warming with the tales he told,
Forgotten was the outside cold,
The bitter wind unheeded blew,
From ripening corn the pigeons flew,
The partridge drummed i’ the wood, the mink
Went fishing down the river-brink.
In fields with bean or clover gay,
The woodchuck, like a hermit gray,
Peered from the doorway of his cell;
The muskrat plied the mason’s trade,
And tier by tier his mud-walls laid;
And from the shagbark overhead
The grizzled squirrel dropped his shell.

Next, the dear aunt, whose smile of cheer
And voice in dreams I see and hear, —
The sweetest woman ever Fate
Perverse denied a household mate,
Who, lonely, homeless, not the less
Found peace in love’s unselfishness,
And welcome wheresoe’er she went,
A calm and gracious element,
Whose presence seemed the sweet income
And womanly atmosphere of home, —
Called up her girlhood memories,
The huskings and the apple-bees,
The sleigh-rides and the summer sails,
Weaving through all the poor details
And homespun warp of circumstance
A golden woof-thread of romance.
For well she kept her genial mood
And simple faith of maidenhood;
Before her still a cloud-land lay,
The mirage loomed across her way;
The morning dew, that dries so soon
With others, glistened at her noon;
Through years of toil and soil and care,
From glossy tress to thin gray hair,
All unprofaned she held apart
The ****** fancies of the heart.
Be shame to him of woman born
Who hath for such but thought of scorn.
There, too, our elder sister plied
Her evening task the stand beside;
A full, rich nature, free to trust,
Truthful and almost sternly just,
Impulsive, earnest, prompt to act,
And make her generous thought a fact,
Keeping with many a light disguise
The secret of self-sacrifice.

O heart sore-tried! thou hast the best
That Heaven itself could give thee, — rest,
Rest from all bitter thoughts and things!
How many a poor one’s blessing went
With thee beneath the low green tent
Whose curtain never outward swings!

As one who held herself a part
Of all she saw, and let her heart
Against the household ***** lean,
Upon the motley-braided mat
Our youngest and our dearest sat,
Lifting her large, sweet, asking eyes,
Now bathed in the unfading green
And holy peace of Paradise.
Oh, looking from some heavenly hill,
Or from the shade of saintly palms,
Or silver reach of river calms,
Do those large eyes behold me still?
With me one little year ago: —
The chill weight of the winter snow
For months upon her grave has lain;
And now, when summer south-winds blow
And brier and harebell bloom again,
I tread the pleasant paths we trod,
I see the violet-sprinkled sod
Whereon she leaned, too frail and weak
The hillside flowers she loved to seek,
Yet following me where’er I went
With dark eyes full of love’s content.
The birds are glad; the brier-rose fills
The air with sweetness; all the hills
Stretch green to June’s unclouded sky;
But still I wait with ear and eye
For something gone which should be nigh,
A loss in all familiar things,
In flower that blooms, and bird that sings.
And yet, dear heart! remembering thee,
Am I not richer than of old?
Safe in thy immortality,
What change can reach the wealth I hold?
What chance can mar the pearl and gold
Thy love hath left in trust with me?
And while in life’s late afternoon,
Where cool and long the shadows grow,
I walk to meet the night that soon
Shall shape and shadow overflow,
I cannot feel that thou art far,
Since near at need the angels are;
And when the sunset gates unbar,
Shall I not see thee waiting stand,
And, white against the evening star,
The welcome of thy beckoning hand?

Brisk wielder of the birch and rule,
The master of the district school
Held at the fire his favored place,
Its warm glow lit a laughing face
Fresh-hued and fair, where scarce appeared
The uncertain prophecy of beard.
He teased the mitten-blinded cat,
Played cross-pins on my uncle’s hat,
Sang songs, and told us what befalls
In classic Dartmouth’s college halls.
Born the wild Northern hills among,
From whence his yeoman father wrung
By patient toil subsistence scant,
Not competence and yet not want,
He early gained the power to pay
His cheerful, self-reliant way;
Could doff at ease his scholar’s gown
To peddle wares from town to town;
Or through the long vacation’s reach
In lonely lowland districts teach,
Where all the droll experience found
At stranger hearths in boarding round,
The moonlit skater’s keen delight,
The sleigh-drive through the frosty night,
The rustic party, with its rough
Accompaniment of blind-man’s-buff,
And whirling-plate, and forfeits paid,
His winter task a pastime made.
Happy the snow-locked homes wherein
He tuned his merry violin,

Or played the athlete in the barn,
Or held the good dame’s winding-yarn,
Or mirth-provoking versions told
Of classic legends rare and old,
Wherein the scenes of Greece and Rome
Had all the commonplace of home,
And little seemed at best the odds
‘Twixt Yankee pedlers and old gods;
Where Pindus-born Arachthus took
The guise of any grist-mill brook,
And dread Olympus at his will
Became a huckleberry hill.

A careless boy that night he seemed;
But at his desk he had the look
And air of one who wisely schemed,
And hostage from the future took
In trainëd thought and lore of book.
Large-brained, clear-eyed, of such as he
Shall Freedom’s young apostles be,
Who, following in War’s ****** trail,
Shall every lingering wrong assail;
All chains from limb and spirit strike,
Uplift the black and white alike;
Scatter before their swift advance
The darkness and the ignorance,
The pride, the lust, the squalid sloth,
Which nurtured Treason’s monstrous growth,
Made ****** pastime, and the hell
Of prison-torture possible;
The cruel lie of caste refute,
Old forms remould, and substitute
For Slavery’s lash the freeman’s will,
For blind routine, wise-handed skill;
A school-house plant on every hill,
Stretching in radiate nerve-lines thence
The quick wires of intelligence;
Till North and South together brought
Shall own the same electric thought,
In peace a common flag salute,
And, side by side in labor’s free
And unresentful rivalry,
Harvest the fields wherein they fought.

Another guest that winter night
Flashed back from lustrous eyes the light.
Unmarked by time, and yet not young,
The honeyed music of her tongue
And words of meekness scarcely told
A nature passionate and bold,

Strong, self-concentred, spurning guide,
Its milder features dwarfed beside
Her unbent will’s majestic pride.
She sat among us, at the best,
A not unfeared, half-welcome guest,
Rebuking with her cultured phrase
Our homeliness of words and ways.
A certain pard-like, treacherous grace
Swayed the lithe limbs and drooped the lash,
Lent the white teeth their dazzling flash;
And under low brows, black with night,
Rayed out at times a dangerous light;
The sharp heat-lightnings of her face
Presaging ill to him whom Fate
Condemned to share her love or hate.
A woman tropical, intense
In thought and act, in soul and sense,
She blended in a like degree
The ***** and the devotee,
Revealing with each freak or feint
The temper of Petruchio’s Kate,
The raptures of Siena’s saint.
Her tapering hand and rounded wrist
Had facile power to form a fist;
The warm, dark languish of her eyes
Was never safe from wrath’s surprise.
Brows saintly calm and lips devout
Knew every change of scowl and pout;
And the sweet voice had notes more high
And shrill for social battle-cry.

Since then what old cathedral town
Has missed her pilgrim staff and gown,
What convent-gate has held its lock
Against the challenge of her knock!
Through Smyrna’s plague-hushed thoroughfares,
Up sea-set Malta’s rocky stairs,
Gray olive slopes of hills that hem
Thy tombs and shrines, Jerusalem,
Or startling on her desert throne
The crazy Queen of Lebanon
With claims fantastic as her own,
Her tireless feet have held their way;
And still, unrestful, bowed, and gray,
She watches under Eastern skies,
With hope each day renewed and fresh,
The Lord’s quick coming in the flesh,
Whereof she dreams and prophesies!
Where’er her troubled path may be,
The Lord’s sweet pity with her go!
The outward wayward life we see,
The hidden springs we may not know.
Nor is it given us to discern
What threads the fatal sisters spun,
Through what ancestral years has run
The sorrow with the woman born,
What forged her cruel chain of moods,
What set her feet in solitudes,
And held the love within her mute,
What mingled madness in the blood,
A life-long discord and annoy,
Water of tears with oil of joy,
And hid within the folded bud
Perversities of flower and fruit.
It is not ours to separate
The tangled skein of will and fate,
To show what metes and bounds should stand
Upon the soul’s debatable land,
And between choice and Providence
Divide the circle of events;
But He who knows our frame is just,
Merciful and compassionate,
And full of sweet assurances
And hope for all the language is,
That He remembereth we are dust!

At last the great logs, crumbling low,
Sent out a dull and duller glow,
The bull’s-eye watch that hung in view,
Ticking its weary circuit through,
Pointed with mutely warning sign
Its black hand to the hour of nine.
That sign the pleasant circle broke:
My uncle ceased his pipe to smoke,
Knocked from its bowl the refuse gray,
And laid it tenderly away;
Then roused himself to safely cover
The dull red brands with ashes over.
And while, with care, our mother laid
The work aside, her steps she stayed
One moment, seeking to express
Her grateful sense of happiness
For food and shelter, warmth and health,
And love’s contentment more than wealth,
With simple wishes (not the weak,
Vain prayers which no fulfilment seek,
But such as warm the generous heart,
O’er-prompt to do with Heaven its part)
That none might lack, that bitter night,
For bread and clothing, warmth and light.

Within our beds awhile we heard
The wind that round the gables roared,
With now and then a ruder shock,
Which made our very bedsteads rock.
We heard the loosened clapboards tost,
The board-nails snapping in the frost;
And on us, through the unplastered wall,
Felt the light sifted snow-flakes fall.
But sleep stole on, as sleep will do
When hearts are light and life is new;
Faint and more faint the murmurs grew,
Till in the summer-land of dreams
They softened to the sound of streams,
Low stir of leaves, and dip of oars,
And lapsing waves on quiet shores.
Of merry voices high and clear;
And saw the teamsters drawing near
To break the drifted highways out.
Down the long hillside treading slow
We saw the half-buried oxen go,
Shaking the snow from heads uptost,
Their straining nostrils white with frost.
Before our door the straggling train
Drew up, an added team to gain.
The elders threshed their hands a-cold,
Passed, with the cider-mug, their jokes
From lip to lip; the younger folks
Down the loose snow-banks, wrestling, rolled,
Then toiled again the cavalcade
O’er windy hill, through clogged ravine,
And woodland paths that wound between
Low drooping pine-boughs winter-weighed.
From every barn a team afoot,
At every house a new recruit,
Where, drawn by Nature’s subtlest law,
Haply the watchful young men saw
Sweet doorway pictures of the curls
And curious eyes of merry girls,
Lifting their hands in mock defence
Against the snow-ball’s compliments,
And reading in each missive tost
The charm with Eden never lost.
We heard once more the sleigh-bells’ sound;
And, following where the teamsters led,
The wise old Doctor went his round,
Just pausing at our door to say,
In the brief autocratic way
Of one who, prompt at Duty’s call,
Was free to urge her claim on all,
That some poor neighbor sick abed
At night our mother’s aid would need.
For, one in generous thought and deed,
What mattered in the sufferer’s sight
The Quaker matron’s inward light,
The Doctor’s mail of Calvin’s creed?
All hearts confess the saints elect
Who, twain in faith, in love agree,
And melt not in an acid sect
The Christian pearl of charity!

So days went on: a week had passed
Since the great world was heard from last.
The Almanac we studied o’er,
Read and reread our little store
Of books and pamphlets, scarce a score;
One harmless novel, mostly hid
From younger eyes, a book forbid,
And poetry, (or good or bad,
A single book was all we had,)
Where Ellwood’s meek, drab-skirted Muse,
A stranger to the heathen Nine,
Sang, with a somewhat nasal whine,
The wars of David and the Jews.
At last the floundering carrier bore
The village paper to our door.
Lo! broadening outward as we read,
To warmer zones the horizon spread
In panoramic length unrolled
We saw the marvels that it told.
Before us passed the painted Creeks,
A   nd daft McGregor on his raids
In Costa Rica’s everglades.
And up Taygetos winding slow
Rode Ypsilanti’s Mainote Greeks,
A Turk’s head at each saddle-bow!
Welcome to us its week-old news,
Its corner for the rustic Muse,
Its monthly gauge of snow and rain,
Its record, mingling in a breath
The wedding bell and dirge of death:
Jest, anecdote, and love-lorn tale,
The latest culprit sent to jail;
Its hue and cry of stolen and lost,
Its vendue sales and goods at cost,
And traffic calling loud for gain.
We felt the stir of hall and street,
The pulse of life that round us beat;
The chill embargo of the snow
Was melted in the genial glow;
Wide swung again our ice-locked door,
And all the world was ours once more!

Clasp, Angel of the backword look
And folded wings of ashen gray
And voice of echoes far away,
The brazen covers of thy book;
The weird palimpsest old and vast,
Wherein thou hid’st the spectral past;
Where, closely mingling, pale and glow
The characters of joy and woe;
The monographs of outlived years,
Or smile-illumed or dim with tears,
Green hills of life that ***** to death,
And haunts of home, whose vistaed trees
Shade off to mournful cypresses
With the white amaranths underneath.
Even while I look, I can but heed
The restless sands’ incessant fall,
Importunate hours that hours succeed,
Each clamorous with its own sharp need,
And duty keeping pace with all.
Shut down and clasp with heavy lids;
I hear again the voice that bids
The dreamer leave his dream midway
For larger hopes and graver fears:
Life greatens in these later years,
The century’s aloe flowers to-day!

Yet, haply, in some lull of life,
Some Truce of God which breaks its strife,
The worldling’s eyes shall gather dew,
Dreaming in throngful city ways
Of winter joys his boyhood knew;
And dear and early friends — the few
Who yet remain — shall pause to view
These Flemish pictures of old days;
Sit with me by the homestead hearth,
And stretch the hands of memory forth
To warm them at the wood-fire’s blaze!
And thanks untraced to lips unknown
Shall greet me like the odors blown
From unseen meadows newly mown,
Wood-fringed, the wayside gaze beyond;
The traveller owns the grateful sense
Of sweetness near, he knows not whence,
And, pausing, takes with forehead bare
The benediction of the air.

Written in  1865
In its day, 'twas a best-seller and earned significant income for Whittier

https://youtu.be/vVOQ54YQ73A

BLM activists are so stupid that they defaced a statue of Whittier  unaware that he was an ardent abolitionist 🤣
Sarah Spang Aug 2015
Sometimes beneath close eyelids
I quest to bring you back
As if you were driftwood floating
Downstream on your back.
I dip my hands beneath the veil
And dry away the death
And from my parting, weeping lips
I give you back your breath-
Just like the rising sunset burning
In the summer sky
Paints and saints the mountaintops
And casts their colors bright.



Unrhymed Notes:

Sometimes I dream I can bring you back
Just as simply as dipping my hands into the water
To retrieve a floating piece of driftwood;
Dry the death from your skin
And breath life back into you
The way the sunrise reanimates
The Dark Mountains
Each and every day.

I see your Ocean eyes open
Embrace you like I'm trying to
Fold you into my skin
Where I can keep you always
And feel your summer peach warm flesh
Tangible against my permafrost fingers.

If the dead could talk
Nothing profound would leave your lips
They'd only quirk into a Cheshire smile
And you'd tell me to let go
Relinquish
Move along and stop standing still
Life is for the Living
Death is for the dead
And dreams are for the foolish.


"You *******."
Nylee Jun 2018
a half line
incomplete stanza
an unrhymed sentence
well defined trauma

the poet's thought
uncaptured on the paper
many drafts
and crushed papers
around the study

there is a lot
same thoughts
and some sought
no process
little sense
world of words
and many buds

more time needed
to bloom
and here comes
the start of coming doom.
Sarah Spang May 2015
Your eyes burned
bluegreenblue
Driftwood fires
Your essence clashing
Cracking
Burning with the knowledge;
The salt of the sea.

I had placed you there
Sun-bleached beachwood,
Hesitant fingers coaxing towards the flame
Knowing all too well the reaction
The mark that the sea had left upon you; left you with nothing but treebones,
Accusing, twisted fingers pointed towards the sky.

And I, somehow danced
Consuming you both with bitter abandonment
Savoring both the brine and the earth
As if I knew you not from blood and chocolate;
From sweetness and necessity.
Travis Green Nov 2018
There I was standing in the stark cold
in New York staring at the fast-paced
traffic breezing past my sight, flashing
bright blurs blinding my eyes, heavy
rising fumes lost in the air from rusty
engines, as I breathed in the loud
vibrations and mixed creations
surrounding my eyesight.  
The towering buildings concaving
around my soul.  The high pitched
trains pounding my brain, steel
scraped railroad tracks sifting
inside broken lanes.  The blinking
stoplights lingering in helpless
shadows.  And as I gazed at the
scarlet stained sidewalks, how
the cigarette butts sunk in
meaningless mazes, screaming
embers disturbed and scorched,
scarred and surrendering,
my heart was against the wall.
I could feel everything around me
moving in accelerating speeds,
scurrying pedestrians clouding
my wild breaking frame, swollen
grayed trees clicking and blazing
in little language, red smashed stop
signs falling in between compromised
worlds, while I struggled to break
from the love that stole my heart
in the nighttime spark.  I could see
his dark twisted eyes in the shadows,
crimson-black designs destroying
my mind, smoke shattered kisses
torturing my dimension, as I
gasp deep heavy breaths,
embracing every single solid
drum shuddering inside my nation.
How was I to know that your love
could burn my flesh, razor flamed
and ******, over flattened and
rammed, a cold unrhymed beat
diminishing my existence in the
blackened skies.
David Lessard May 2015
Shall I liken you to a day in summer?
You are more lovely and at peace,
Harsh weather dwells in the month of May,
and summer is soon departed.
Often, the heaven's eye shines bright,
and at times, it's rather clouded,
sometimes the climate's not so fair,
and Nature falls short of perfect.
But the eternity of your summer doesn't die,
and the beauty of your years remains alive,
Death has no  dominion over you,
you always will remain upon my heart.
So long as men can see and hear;
you'll be forever with me dear.
Michael R Burch May 2020
The Original Sin: Rhyming Haiku!

Haiku
should never rhyme:
it’s a crime!
―Michael R. Burch

The herons stand,
sentry-like, at attention ...
rigid observers of some unknown command.
―Michael R. Burch

Late
fall;
all
the golden leaves turn black underfoot:
soot
―Michael R. Burch

Dry leaf flung awry:
bright butterfly,
goodbye!
―Michael R. Burch

A snake in the grass
lies, hissing
"Trespass!"
―Michael R. Burch

Honeysuckle
blesses my knuckle
with affectionate dew
―Michael R. Burch

My nose nuzzles
honeysuckle’s
sweet nothings
―Michael R. Burch

The day’s eyes were blue
until you appeared
and they wept at your beauty.
―Michael R. Burch

The moon in decline
like my lover’s heart
lies far beyond mine
―Michael R. Burch

My mother’s eyes
acknowledging my imperfection:
dejection
―Michael R. Burch

The sun sets
the moon fails to rise
we avoid each other’s eyes
―Michael R. Burch

brief leaf flung awry ~
bright butterfly, goodbye!
―Michael R. Burch

leaf flutters in flight ~
bright, O and endeavoring butterfly,
goodbye!
―Michael R. Burch

The girl with the pallid lips
lipsticks
into something more comfortable
―Michael R. Burch

I am a traveler
going nowhere,
but my how the gawking bystanders stare!
―Michael R. Burch



Here's a poem that's composed of haiku-like stanzas:

Haiku Sequence: The Seasons
by Michael R. Burch

Lift up your head
dandelion,
hear spring roar!

How will you tidy your hair
this near
summer?

Leave to each still night
your lightest affliction,
dandruff.

Soon you will free yourself:
one shake
of your white mane.

Now there are worlds
into which you appear
and disappear

seemingly at will
but invariably blown
wildly, then still.

Gasp at the bright chill
glower
of winter.

Icicles splinter;
sleep still an hour,
till, resurrected in power,

you lift up your head,
dandelion.
Hear spring roar!



Unrhymed Original Haiku and Tanka
by Michael R. Burch

These are original haiku and tanka written by Michael R. Burch, along with haiku-like and tanka-like poems inspired by the forms but not necessarily abiding by all the rules.

Dark-bosomed clouds
pregnant with heavy thunder ...
the water breaks
―Michael R. Burch

one pillow ...
our dreams
merge
―Michael R. Burch



Iffy Coronavirus Haiku

yet another iffy coronavirus haiku #1
by Michael R. Burch

plagued by the Plague
i plague the goldfish
with my verse

yet another iffy coronavirus haiku #2
by Michael R. Burch

sunflowers
hang their heads
embarrassed by their coronas

I wrote this poem after having a sunflower arrangement delivered to my mother, who is in an assisted living center and can’t have visitors due to the coronavirus pandemic. I have been informed the poem breaks haiku rules about personification, etc.

Homework (yet another iffy coronavirus haiku #3)
by Michael R. Burch

Dim bulb overhead,
my silent companion:
still imitating the noonday sun?

New World Order (last in a series and perhaps a species)
by Michael R. Burch

The days of the dandelions dawn ...
soon man will be gone:
fertilizer.



Variations on Fall

Farewells like
falling
leaves,
so many sad goodbyes.
―Michael R. Burch

Falling leaves
brittle hearts
whisper farewells
―Michael R. Burch

Autumn leaves
soft farewells
falling ...
falling ...
falling ...
―Michael R. Burch

Autumn leaves
Fall’s farewells
Whispered goodbyes
―Michael R. Burch



Variations on the Seasons
by Michael R. Burch

Mother earth
prepares her nurseries:
spring greening

The trees become
modest,
coy behind fans



Wobbly fawns
have become the fleetest athletes:
summer



Dry leaves
scuttle like *****:
autumn

*

The sky
shivers:
snowfall

each
translucent flake
lighter than eiderdown

the entire town entombed
but not in gloom,
bedazzled.



Variations on Night

Night,
ice and darkness
conspire against human warmth
―Michael R. Burch

Night and the Stars
conspire against me:
Immensity
―Michael R. Burch

in the ice-cold cathedral
prayer candles ablaze
flicker warmthlessly
―Michael R. Burch



Variations on the Arts
by Michael R. Burch

Paint peeling:
the novel's
novelty wears off ...

The autumn marigold's
former glory:
allegory.

Human arias?
The nightingale frowns, perplexed.
Tone deaf!

Where do cynics
finally retire?
Satire.

All the world’s
a stage
unless it’s a cage.

To write an epigram,
cram.
If you lack wit, scram.

Haiku
should never rhyme:
it’s a crime!

Video
dumped the **** tube
for YouTube.

Anyone
can rap:
just write rhythmic crap!

Variations on Lingerie
by Michael R. Burch

Were you just a delusion?
The black negligee you left
now merest illusion.

The clothesline
quivers,
ripe with unmentionables.

The clothesline quivers:
wind,
or ghosts?



Variations on Love and Wisdom
by Michael R. Burch

Wise old owls
stare myopically at the moon,
hooting as the hart escapes.

Myopic moon-hooting owls
hoot as the hart escapes

The myopic owl,
moon-intent, scowls;
my rabbit heart thunders ...
Peace, wise fowl!



Original Tanka

All the wild energies
of electric youth
captured in the monochromes
of an ancient photobooth
like zigzagging lightning.
―Michael R. Burch

The plums were sweet,
icy and delicious.
To eat them all
was perhaps malicious.
But I vastly prefer your kisses!
―Michael R. Burch

A child waving ...
The train groans slowly away ...
Loneliness ...
Somewhere in the distance gusts
scatter the stray unharvested hay ...
―Michael R. Burch

How vaguely I knew you
however I held you close ...
your heart’s muffled thunder,
your breath the wind―
rising and dying.
―Michael R. Burch



Miscellanea

Childless
by Michael R. Burch

How can she bear her grief?
Mightier than Atlas, she shoulders the weight
of one fallen star.

sheer green stockings
queer green beer
St. Patrick's Day!
―Michael R. Burch

cicadas chirping everywhere
singing to beat the band―
surround sound
―Michael R. Burch

Regal, upright,
clad in royal purple:
Zinnia
―Michael R. Burch

Love is a surreal sweetness
in a world where trampled grapes
become wine.
―Michael R. Burch

although meant for market
a pail full of strawberries
invites indulgence
―Michael R. Burch

late November;
skeptics scoff
but the geese no longer migrate
―Michael R. Burch

as the butterfly hunts nectar
the generous iris
continues to bloom
―Michael R. Burch



Haiku Translations of the Oriental Masters

Grasses wilt:
the braking locomotive
grinds to a halt
― Yamaguchi Seishi, loose translation by Michael R. Burch

Oh, fallen camellias,
if I were you,
I'd leap into the torrent!
― Takaha Shugyo, loose translation by Michael R. Burch

The first soft snow:
leaves of the awed jonquil
bow low
― Matsuo Basho, loose translation by Michael R. Burch

Come, investigate loneliness!
a solitary leaf
clings to the Kiri tree
― Matsuo Basho, loose translation by Michael R. Burch

Lightning
shatters the darkness―
the night heron's shriek
― Matsuo Basho, loose translation by Michael R. Burch

One apple, alone
in the abandoned orchard
reddens for winter
― Patrick Blanche, loose translation by Michael R. Burch

The poem above is by a French poet; it illustrates how the poetry of Oriental masters like Basho has influenced poets around the world.



I remove my beautiful kimono:
its varied braids
surround and entwine my body
― Hisajo Sugita, loose translation by Michael R. Burch

This day of chrysanthemums
I shake and comb my wet hair,
as their petals shed rain
― Hisajo Sugita, loose translation by Michael R. Burch

This sheer kimono—
how the moon peers through
to my naked skin!
—Hisajo Sugita (1890-1946), loose translation by Michael R. Burch

These festive flowery robes—
though quickly undressed,
how their colored cords still continue to cling!
—Hisajo Sugita (1890-1946), loose translation by Michael R. Burch

Chrysanthemum petals
reveal their pale curves
shyly to the moon.
—Hisajo Sugita (1890-1946), loose translation by Michael R. Burch

Loneliness —
reading the Bible
as the rain deflowers cherry blossoms.
—Hisajo Sugita (1890-1946), loose translation by Michael R. Burch

How deep this valley,
how elevated the butterfly's flight!
—Hisajo Sugita (1890-1946), loose translation by Michael R. Burch

How lowly this valley,
how lofty the butterfly's flight!
—Hisajo Sugita (1890-1946), loose translation by Michael R. Burch

Echoes from the hills—
the mountain cuckoo sings as it will,
trill upon trill
—Hisajo Sugita (1890-1946), loose translation by Michael R. Burch



This darkening autumn:
my neighbor,
how does he continue?
― Matsuo Basho, loose translation by Michael R. Burch

Let us arrange
these lovely flowers in the bowl
since there's no rice
― Matsuo Basho, loose translation by Michael R. Burch

An ancient pond,
the frog leaps:
the silver plop and gurgle of water
― Matsuo Basho, loose translation by Michael R. Burch

The butterfly
perfuming its wings
fans the orchid
― Matsuo Basho, loose translation by Michael R. Burch

Pausing between clouds
the moon rests
in the eyes of its beholders
― Matsuo Basho, loose translation by Michael R. Burch

The first chill rain:
poor monkey, you too could use
a woven cape of straw
― Matsuo Basho, loose translation by Michael R. Burch

This snowy morning:
cries of the crow I despise
(ah, but so beautiful!)
― Matsuo Basho, loose translation by Michael R. Burch

Like a heavy fragrance
snow-flakes settle:
lilies on the rocks
― Matsuo Basho, loose translation by Michael R. Burch

The cheerful-chirping cricket
contends gray autumn's gay,
contemptuous of frost
― Matsuo Basho, loose translation by Michael R. Burch

Whistle on, twilight whippoorwill,
solemn evangelist
of loneliness
― Matsuo Basho, loose translation by Michael R. Burch

The sea darkening,
the voices of the wild ducks:
my mysterious companions!
― Matsuo Basho, loose translation by Michael R. Burch

Will we meet again?
Here at your flowering grave:
two white butterflies
― Matsuo Basho, loose translation by Michael R. Burch

Fever-felled mid-path
my dreams resurrect, to trek
into a hollow land
― Matsuo Basho, loose translation by Michael R. Burch

Too ill to travel,
now only my autumn dreams
survey these withering fields
― Matsuo Basho, loose translation by Michael R. Burch; this has been called Basho's death poem

These brown summer grasses?
The only remains
of "invincible" warriors...
― Matsuo Basho, loose translation by Michael R. Burch

Graven images of long-departed gods,
dry spiritless leaves:
companions of the temple porch
― Matsuo Basho, loose translation by Michael R. Burch

See: whose surviving sons
visit the ancestral graves
white-bearded, with trembling canes?
― Matsuo Basho, loose translation by Michael R. Burch

An empty road
lonelier than abandonment:
this autumn evening
― Matsuo Basho, loose translation by Michael R. Burch

Spring has come:
the nameless hill
lies shrouded in mist
― Matsuo Basho, loose translation by Michael R. Burch

This world?
Moonlit dew
flicked from a crane's bill.
—Eihei Dogen Kigen (1200-1253) loose translation/interpretation by Michael R. Burch

Seventy-one?
How long
can a dewdrop last?
—Eihei Dogen Kigen, loose translation/interpretation by Michael R. Burch

Dewdrops beading grass-blades
die before dawn;
may an untimely wind not hasten their departure!
—Eihei Dogen Kigen, loose translation/interpretation by Michael R. Burch

Dewdrops beading blades of grass
have so little time to shine before dawn;
let the autumn wind not rush too quickly through the field!
—Eihei Dogen Kigen, loose translation/interpretation by Michael R. Burch

Outside my window the plums, blossoming,
within their curled buds, contain the spring;
the moon is reflected in the cup-like whorls
of the lovely flowers I gather and twirl.
—Eihei Dogen Kigen, loose translation/interpretation by Michael R. Burch



The Oldest Haiku

These are my translations of some of the oldest Japanese waka, which evolved into poetic forms such as tanka, renga and haiku over time. My translations are excerpts from the Kojiki (the "Record of Ancient Matters"), a book composed around 711-712 A.D. by the historian and poet Ō no Yasumaro. The Kojiki relates Japan’s mythological beginnings and the history of its imperial line. Like Virgil's Aeneid, the Kojiki seeks to legitimize rulers by recounting their roots. These are lines from one of the oldest Japanese poems, found in the oldest Japanese book:

While you decline to cry,
high on the mountainside
a single stalk of plumegrass wilts.
― Ō no Yasumaro (circa 711), loose translation by Michael R. Burch

Here's another excerpt, with a humorous twist, from the Kojiki:

Hush, cawing crows; what rackets you make!
Heaven's indignant messengers,
you remind me of wordsmiths!
― Ō no Yasumaro (circa 711), loose translation by Michael R. Burch

Here's another, this one a poem of love and longing:

Onyx, this gem-black night.
Downcast, I await your return
like the rising sun, unrivaled in splendor.
― Ō no Yasumaro (circa 711), loose translation by Michael R. Burch



More Haiku by Various Poets

Right at my feet!
When did you arrive here,
snail?
― Kobayashi Issa, loose translation by Michael R. Burch

Our world of dew
is a world of dew indeed;
and yet, and yet...
― Kobayashi Issa, loose translation by Michael R. Burch

Oh, brilliant moon
can it be true that even you
must rush off, like us, tardy?
― Kobayashi Issa, loose translation by Michael R. Burch

Standing unsteadily,
I am the scarecrow’s
skinny surrogate
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Autumn wind ...
She always wanted to pluck
the reddest roses
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Issa wrote the haiku above after the death of his daughter Sato with the note: “Sato, girl, 35th day, at the grave.”



The childless woman,
how tenderly she caresses
homeless dolls ...
—Hattori Ransetsu, loose translation/interpretation by Michael R. Burch

Clinging
to the plum tree:
one blossom's worth of warmth
—Hattori Ransetsu, loose translation/interpretation by Michael R. Burch

One leaf falls, enlightenment!
Another leaf falls,
swept away by the wind ...
—Hattori Ransetsu, loose translation/interpretation by Michael R. Burch

This has been called Ransetsu’s “death poem.” In The Classic Tradition of Haiku, Faubion Bowers says in a footnote to this haiku: “Just as ‘blossom’, when not modified, means ‘cherry flower’ in haiku, ‘one leaf’ is code for ‘kiri’. Kiri ... is the Pawlonia ... The leaves drop throughout the year. They shrivel, turn yellow, and yield to gravity. Their falling symbolizes loneliness and connotes the past. The large purple flowers ... are deeply associated with haiku because the three prongs hold 5, 7 and 5 buds ... ‘Totsu’ is an exclamation supposedly uttered when a Zen student achieves enlightenment. The sound also imitates the dry crackle the pawlonia leaf makes as it scratches the ground upon falling.”



Disdaining grass,
the firefly nibbles nettles—
this is who I am.
—Takarai Kikaku (1661-1707), loose translation/interpretation by Michael R. Burch

A simple man,
content to breakfast with the morning glories—
this is who I am.
—Basho, loose translation/interpretation by Michael R. Burch
This is Basho’s response to the Takarai Kikaku haiku above

The morning glories, alas,
also turned out
not to embrace me
—Basho, loose translation/interpretation by Michael R. Burch

The morning glories bloom,
mending chinks
in the old fence
—Basho, loose translation/interpretation by Michael R. Burch

Morning glories,
however poorly painted,
still engage us
—Basho, loose translation/interpretation by Michael R. Burch

I too
have been accused
of morning glory gazing ...
—original haiku by by Michael R. Burch

Taming the rage
of an unrelenting sun—
autumn breeze.
—Basho, loose translation/interpretation by Michael R. Burch

The sun sets,
relentlessly red,
yet autumn’s in the wind.
—Basho, loose translation/interpretation by Michael R. Burch

As autumn deepens,
a butterfly sips
chrysanthemum dew.
—Basho, loose translation/interpretation by Michael R. Burch

As autumn draws near,
so too our hearts
in this small tea room.
—Basho, loose translation/interpretation by Michael R. Burch

Nothing happened!
Yesterday simply vanished
like the blowfish soup.
—Basho, loose translation/interpretation by Michael R. Burch

The surging sea crests around Sado ...
and above her?
An ocean of stars.
—Basho, loose translation/interpretation by Michael R. Burch

Revered figure!
I bow low
to the rabbit-eared Iris.
—Basho, loose translation/interpretation by Michael R. Burch

Come, butterfly,
it’s late
and we’ve a long way to go!
—Basho, loose translation/interpretation by Michael R. Burch

Nothing in the cry
of the cicadas
suggests they know they soon must die.
—Basho, loose translation/interpretation by Michael R. Burch

I wish I could wash
this perishing earth
in its shimmering dew.
—Basho, loose translation/interpretation by Michael R. Burch

Dabbed with morning dew
and splashed with mud,
the melon looks wonderfully cool.
—Basho, loose translation/interpretation by Michael R. Burch

Cold white azalea—
a lone nun
in her thatched straw hut.
—Basho, loose translation/interpretation by Michael R. Burch

Glimpsed on this high mountain trail,
delighting my heart—
wild violets
—Basho, loose translation/interpretation by Michael R. Burch

The bee emerging
from deep within the peony’s hairy recesses
flies off heavily, sated
—Basho, loose translation/interpretation by Michael R. Burch

A crow has settled
on a naked branch—
autumn nightfall
—Basho, loose translation/interpretation by Michael R. Burch

Except for a woodpecker
tapping at a post,
the house is silent.
—Basho, loose translation/interpretation by Michael R. Burch

That dying cricket,
how he goes on about his life!
—Basho, loose translation/interpretation by Michael R. Burch

Like a glorious shrine—
on these green, budding leaves,
the sun’s intense radiance.
—Basho, loose translation/interpretation by Michael R. Burch



Yosa Buson haiku translations

A kite floats
at the same place in the sky
where yesterday it floated...
― Yosa Buson, loose translation by Michael R. Burch

On the temple’s great bronze gong
a butterfly
snoozes.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Hard to describe:
this light sensation of being pinched
by a butterfly!
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Not to worry spiders,
I clean house ... sparingly.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Among the fallen leaves,
an elderly frog.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

In an ancient well
fish leap for mosquitoes,
a dark sound.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Flowers with thorns
remind me of my hometown ...
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Reaching the white chrysanthemum
the scissors hesitate ...
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Picking autumn plums
my wrinkled hands
once again grow fragrant
―Yosa Buson, loose translation/interpretation by Michael R. Burch

A silk robe, casually discarded,
exudes fragrance
into the darkening evening
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Whose delicate clothes
still decorate the clothesline?
Late autumn wind.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

An evening breeze:
water lapping the heron’s legs.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

gills puffing,
a hooked fish:
the patient
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The stirred morning air
ruffles the hair
of a caterpillar.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Intruder!
This white plum tree
was once outside our fence!
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Tender grass
forgetful of its roots
the willow
―Yosa Buson, loose translation/interpretation by Michael R. Burch

I believe the poem above can be taken as commentary on ungrateful children. It reminds me of Robert Hayden's "Those Winter Sundays."―MRB

Since I'm left here alone,
I'll make friends with the moon.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The hood-wearer
in his self-created darkness
misses the harvest moon
―Yosa Buson, loose translation/interpretation by Michael R. Burch

White blossoms of the pear tree―
a young woman reading his moonlit letter
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The pear tree flowers whitely:
a young woman reading his letter
by moonlight
―Yosa Buson, loose translation/interpretation by Michael R. Burch

On adjacent branches
the plum tree blossoms
bloom petal by petal―love!
―Yosa Buson, loose translation/interpretation by Michael R. Burch

A misty spring moon ...
I entice a woman
to pay it our respects
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Courtesans
purchasing kimonos:
plum trees blossoming
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The spring sea
rocks all day long:
rising and falling, ebbing and flowing ...
―Yosa Buson, loose translation/interpretation by Michael R. Burch

As the whale
  dives
its tail gets taller!
―Yosa Buson, loose translation/interpretation by Michael R. Burch

While tilling the field
the motionless cloud
vanished.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Even lonelier than last year:
this autumn evening.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

My thoughts return to my Mother and Father:
late autumn
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Late autumn:
my thoughts return to my Mother and Father
―Yosa Buson, loose translation/interpretation by Michael R. Burch

This roaring winter wind:
the cataract grates on its rocks.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

While snow lingers
in creases and recesses:
flowers of the plum
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Plowing,
not a single bird sings
in the mountain's shadow
―Yosa Buson, loose translation/interpretation by Michael R. Burch

In the lingering heat
of an abandoned cowbarn
only the sound of the mosquitoes is dark.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The red plum's fallen petals
seem to ignite horse dung.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Dawn!
The brilliant sun illuminates
sardine heads.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The abandoned willow shines
between bright rains
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Dew-damp grass:
the setting sun’s tears
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The dew-damp grass
weeps silently
in the setting sun
―Yosa Buson, loose translation/interpretation by Michael R. Burch

White plum blossoms―
though the hour grows late,
a glimpse of dawn
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The poem above is believed to be Buson's jisei (death poem) and he is said to have died before dawn.

Lately the nights
dawn
plum-blossom white.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

This is a second interpretation of Buson's jisei (death poem).

In the deepening night
I saw by the light
of the white plum blossoms
―Yosa Buson, loose translation/interpretation by Michael R. Burch

This is a third interpretation of Buson's jisei (death poem).

Our life here on earth:
to what shall we compare it?
Perhaps to a rowboat
departing at daybreak,
leaving no trace of us in its wake?
—Takaha Shugyo or Yosa Buson, loose translation by Michael R. Burch



I thought I felt a dewdrop
plop
on me as I lay in bed!
― Masaoka Shiki, loose translation by Michael R. Burch

We cannot see the moon
and yet the waves still rise
― Shiki Masaoka, loose translation by Michael R. Burch

The first morning of autumn:
the mirror I investigate
reflects my father’s face
― Shiki Masaoka, loose translation by Michael R. Burch



Wild geese pass
leaving the emptiness of heaven
revealed
― Takaha Shugyo, loose translation by Michael R. Burch

Inside the cracked shell
of a walnut:
one empty room.
—Takaha Shugyo, loose translation by Michael R. Burch

Bring me an icicle
sparkling with the stars
of the deep north
—Takaha Shugyo, loose translation by Michael R. Burch

Seen from the skyscraper
the trees' fresh greenery:
parsley sprigs
—Takaha Shugyo, loose translation by Michael R. Burch

Are the geese flying south?
The candle continues to flicker ...
—Takaha Shugyo, loose translation by Michael R. Burch

Still clad in its clown's costume—
the dead ladybird.
—Takaha Shugyo, loose translation by Michael R. Burch

A single tree,
a heart carved into its trunk,
blossoms prematurely
—Takaha Shugyo, loose translation by Michael R. Burch



Silently observing
the bottomless mountain lake:
water lilies
― Inahata Teiko, loose translation by Michael R. Burch

Cranes
flapping ceaselessly
test the sky's upper limits
― Inahata Teiko, loose translation by Michael R. Burch

Falling snowflakes'
glitter
tinsels the sea
― Inahata Teiko, loose translation by Michael R. Burch

Blizzards here on earth,
blizzards of stars
in the sky
― Inahata Teiko, loose translation by Michael R. Burch

Completely encircled
in emerald:
the glittering swamp!
― Inahata Teiko, loose translation by Michael R. Burch

The new calendar!:
as if tomorrow
is assured...
― Inahata Teiko, loose translation by Michael R. Burch



Ah butterfly,
what dreams do you ply
with your beautiful wings?
― Fukuda Chiyo-ni, loose translation by Michael R. Burch

Because morning glories
hold my well-bucket hostage
I go begging for water
― Fukuda Chiyo-ni, loose translation by Michael R. Burch



Spring
stirs the clouds
in the sky's teabowl
― Kikusha-ni, loose translation by Michael R. Burch

Tonight I saw
how the peony crumples
in the fire's embers
― Katoh Shuhson, loose translation by Michael R. Burch

It fills me with anger,
this moon; it fills me
and makes me whole
― Takeshita Shizunojo, loose translation by Michael R. Burch

War
stood at the end of the hall
in the long shadows
― Watanabe Hakusen, loose translation by Michael R. Burch

Because he is slow to wrath,
I tackle him, then wring his neck
in the long grass
― Shimazu Ryoh, loose translation by Michael R. Burch

Pale mountain sky:
cherry petals play
as they tumble earthward
― Kusama Tokihiko, loose translation by Michael R. Burch

The frozen moon,
the frozen lake:
two oval mirrors reflecting each other.
― Hashimoto Takako, loose translation by Michael R. Burch

The bitter winter wind
ends here
with the frozen sea
― Ikenishi Gonsui, loose translation by Michael R. Burch

Oh, bitter winter wind,
why bellow so
when there's no leaves to fell?
― Natsume Sôseki, loose translation by Michael R. Burch

Winter waves
roil
their own shadows
― Tominaga Fûsei, loose translation by Michael R. Burch

No sky,
no land:
just snow eternally falling...
― Kajiwara Hashin, loose translation by Michael R. Burch

Along with spring leaves
my child's teeth
take root, blossom
― Nakamura Kusatao, loose translation by Michael R. Burch

Stillness:
a single chestnut leaf glides
on brilliant water
― Ryuin, loose translation by Michael R. Burch

As thunder recedes
a lone tree stands illuminated in sunlight:
applauded by cicadas
― Masaoka Shiki, loose translation by Michael R. Burch

The snake slipped away
but his eyes, having held mine,
still stare in the grass
― Kyoshi Takahama, loose translation by Michael R. Burch

Girls gather sprouts of rice:
reflections of the water flicker
on the backs of their hats
― Kyoshi Takahama, loose translation by Michael R. Burch

Murmurs follow the hay cart
this blossoming summer day
― Ippekiro Nakatsuka (1887-1946), loose translation by Michael R. Burch

The wet nurse
paused to consider a bucket of sea urchins
then walked away
― Ippekiro Nakatsuka (1887-1946), loose translation by Michael R. Burch

May I be with my mother
wearing her summer kimono
by the morning window
― Ippekiro Nakatsuka (1887-1946), loose translation by Michael R. Burch

The hands of a woman exist
to remove the insides of the spring cuttlefish
― Sekitei Hara, loose translation by Michael R. Burch

The moon
hovering above the snow-capped mountains
rained down hailstones
― Sekitei Hara, loose translation by Michael R. Burch

Oh, dreamlike winter butterfly:
a puff of white snow
cresting mountains
― Kakio Tomizawa, loose translation by Michael R. Burch

Spring snow
cascades over fences
in white waves
― Suju Takano, loose translation by Michael R. Burch



Tanka and Waka translations:

If fields of autumn flowers
can shed their blossoms, shameless,
why can’t I also frolic here —
as fearless, and as blameless?
—Ono no Komachi, loose translation by Michael R. Burch

Submit to you —
is that what you advise?
The way the ripples do
whenever ill winds arise?
—Ono no Komachi, loose translation by Michael R. Burch

Watching wan moonlight
illuminate trees,
my heart also brims,
overflowing with autumn.
—Ono no Komachi, loose translation by Michael R. Burch

I had thought to pluck
the flower of forgetfulness
only to find it
already blossoming in his heart.
—Ono no Komachi, loose translation by Michael R. Burch

That which men call "love" —
is it not merely the chain
preventing our escape
from this world of pain?
—Ono no Komachi, loose translation by Michael R. Burch

Once-colorful flowers faded,
while in my drab cell
life’s impulse also abated
as the long rains fell.
—Ono no Komachi, loose translation by Michael R. Burch

I set off at the shore
of the seaside of Tago,
where I saw the high, illuminated peak
of Fuji―white, aglow―
through flakes of drifting downy snow.
― Akahito Yamabe, loose translation by Michael R. Burch


Haiku Translations

As the monks sip their morning tea,
chrysanthemums quietly blossom.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

The fragrance of plum blossoms
on a foggy path:
the sun rising.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

The sea darkens ...
yet still faintly white
the wild duck protests.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

Pear tree blossoms
whitened by moonlight:
a young woman reading a letter.
—Yosa Buson, loose translation/interpretation by Michael R. Burch

Outlined in the moonlight ...
who is that standing
among the pear trees?
—Yosa Buson, loose translation/interpretation by Michael R. Burch

Your coolness:
the sound of the bell
departing the bell.
—Yosa Buson, loose translation/interpretation by Michael R. Burch

As the moon flies west
the flowers' shadows
creep eastward.
—Yosa Buson, loose translation/interpretation by Michael R. Burch

By such pale moonlight
even the wisteria's fragrance
seems distant.
—Yosa Buson, loose translation/interpretation by Michael R. Burch

Leaves
like crows’ shadows
flirt with a lonely moon.
Kaga no Chiyo, loose translation/interpretation by Michael R. Burch

Let me die
covered with flowers
and never again wake to this earthly dream!
—Ochi Etsujin, loose translation/interpretation by Michael R. Burch

To reveal how your heart flowers,
sway like the summer grove.
—Tagami Kikusha-Ni, loose translation/interpretation by Michael R. Burch

In the thicket's shade
a solitary woman sings the rice-planting song.
Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Unaware of these degenerate times,
cherry blossoms abound!
Kobayashi Issa, loose translation/interpretation by Michael R. Burch

These silent summer nights
even the stars
seem to whisper.
Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The enormous firefly
weaves its way, this way and that,
as it passes by.
Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Composed like the Thinker, he sits
contemplating the mountains:
the sagacious frog!
Kobayashi Issa, loose translation/interpretation by Michael R. Burch

A fallen blossom
returning to its bough?
No, a butterfly!
Arakida Moritake, loose translation/interpretation by Michael R. Burch

Illuminated by the harvest moon
smoke is caught creeping
across the water ...
Hattori Ransetsu, loose translation/interpretation by Michael R. Burch

Fanning its tail flamboyantly
with every excuse of a breeze,
the peacock!
Masaoki Shiki, loose translation/interpretation by Michael R. Burch

Waves row through the mists
of the endless sea.
Masaoki Shiki, loose translation/interpretation by Michael R. Burch

I hurl a firefly into the darkness
and sense the enormity of night.
—Kyoshi Takahama, loose translation/interpretation by Michael R. Burch

As girls gather rice sprouts
reflections of the rain ripple
on the backs of their hats.
—Kyoshi Takahama, loose translation/interpretation by Michael R. Burch

Keywords/Tags: haiku, tanka, oriental, masters, translation, Japanese, nature, seasons, Basho, Buson, Issa, waka, tanka, mrbhaiku
Unrhymed, unrhythmical, the chatter goes:
Yet no one hears his own remarks as prose.

Beneath each topic tunelessly discussed
The ground-bass is reciprocal mistrust.

The names in fashion shuttling to and fro
Yield, when deciphered, messages of woe.

You cannot read me like an open book.
I'm more myself than you will ever look.

Will no one listen to my little song?

Perhaps I shan't be with you very long.

A howl for recognition, shrill with fear,
Shakes the jam-packed apartment, but each ear
Is listening to its hearing, so none hear.
As reviewed by NY Times best selling author
Ellen Tanner Marsh


Any Christian surveying the current state of modern poetry could easily become discouraged, given that much of that poetry can only be categorized as nihilistic. At worst, such poems seemingly promote despair and violence-against society, the church, or even against oneself. At best, they consist of self-centered whining and overdramatic emotionalism, completely devoid of spiritual muscle and ethical backbone.

New author Joseph J. Breunig 3rd, in his fine debut collection Reaching Towards His Unbounded Glory, takes a fresh stride in the opposite direction, in a poetic compilation that should delight anyone who enjoys reading Christian literature as well as poetry. The book comprises over 100 poems of various lengths, although they generally do not exceed one page. In a slight concession to modern poetic style, some of the stanzas are unrhymed, yet all of them speak to Christian themes, such as faith and its testing, seeking a higher road, the state of grace, error and sin, biblical people and events, and personal redemption through God's word.

A common thread that runs throughout the majority of the poems is that individuals- regardless of any mistakes they may have made in the past-can still turn to Christ as their Savior and begin the slow, sometimes painful, but always positive process of redeeming themselves, in developing a new life filled with abundance and spiritual serenity. By reaching for this new and uplifting collection of Christian poems, readers can indeed begin reaching towards God's glory.


For more information, please visit this link:
http://www.squidoo.com/book-isbn-1419650513/



About Ellen Tanner Marsh

Ellen Tanner Marsh was born in Cologne, Germany, in 1956. At the age of three, her family came to the United States for a two-year stay which has since lengthened to thirty-five.Ellen grew up in New Jersey and moved to Charleston, SC, with her family when she was sixteen. She graduated from Clemson University with a Bachelor's degree in Animal Science. While debating whether or not to apply to veterinary school, she published her first historical romance novel, Reap the Savage Wind. When Reap became a New York Times' bestseller, there was no question of continuing with her studies, and Ellen began writing full time. Two further New York Times' bestsellers have followed: Wrap Me in Splendour, and its enormously popular sequel, Sable.With a total of eleven published novels, Ellen has garnered numerous awards, including a Romantic Times Lifetime Achievement Award, as well as appearing on the B. Dalton, Walden, Publishers Weekly, and other bestseller lists. She has over four million books in print and her work has been translated into four languages. They are extremely popular in her native Germany, where several have been included in special edition.Ellen still resides in Charleston, SC. She is married to her high school sweetheart and has two young sons.
Kurt Philip Behm May 2017
With verse in debt to time enslaved,
  its prophecy of doom

Whose curse to sling like darts and arrows,
  destined for the tomb

All words in red, as blood they drip,
  from wounded hearts and minds

My breath to scorch with fire and salt,
—damnation still unrhymed

(Villanova Pennsylvania: May, 2017)
LD Goodwin Apr 2013
Poison Ivy,
red rash on my limbs.

To the Doc I go,
a shot will do.

It grows on trees,
but they're immune,
their limbs aren't itching.


*Thanks ~timothy~ for a new style.

This is a syllabic poem in seven lines  4/5 5/4 4/4/5
Unrhymed
Lines 1 and 2   INTRODUCE the SUBJECT
Lines 3 and 4   AMPLIFY what is affected by the image/subject.
Line 5 thru 7    Focus on NEW SUBJECT that complements and provides a meditative conclusion.
Shanzi may be Titled
Harrogate, TN  April 2013
Nat Lipstadt Jul 2013
Preface:
Even old poets can forget new tricks,
So when toe stubbed and ah ha benedicted,
Causes you to remember what you once knew,
It feels even better, like being crazy
Once in awhile,
Or wearing an untrimmed chest Jason smile.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~



Eons ago converted to a new religion,
The Church of Free Verse.

If life be variable,
Usually unrhymed
A pencil sketch of crisscrossed lines,
No fixed metrical pattern assigned,
Than even more so, my poetry.

Once I regretted that the children,
Crack addicted to rhyming,^
Used nickel bags and ******* lines
At the starting gate where all
Our associative poetry journey begins.

Perhaps, a tad arrogant, that diktat,
Nonetheless, unashamedly, nothing to recant.
Words have utility creative, souls innovative,
Free them guised as global explorers,
Make them up, then unleash them
Upon us, yourself, as detectives investigative.

Unchained myself like Houdini,
From water chambers and locks constraini.
What care I for poetic rules and regulations,^^
Got so many points, they tried to suspend
My government-issued poetic license.

Had myself forgot,
That a poem needs a
Frame of jungle gym sounds,
An aural aura resonance unbound.
Purposed to make the heart lift
Your ears say:

Say what!

It needs a tune,
An internal music,
It needs a lilt!
A cadence, that both
Marches and swings,
Even when'd urgent dirge
grief pours forth.

Yes my darling young ones,
Your writ of screams, like Bob Dylan's occasional schemes,
Celebrations of agonized lives of the criminally-pained,
Songs and cants of victims, love-cancer stained,
Require a whining, singsong beat.

{Poems so rad-sad that it makes this Jew
Genuflect and crisscross himself,
That he was blessed with a few good happy years,
In his reincarnated life of
A few centuries long.}


Learn 'em to sing their cries,
Harmonize the internality of love,
Or, even the infernal loss and lack thereof,
For it is the lilt
That makes, transforms a cry into a
Poem.

Even I on death's last stairway step,
When was called by the name of
Nate Hale,
My dying poem lilted, lifted and metered
"I only regret,
that I have
but one life,
to lose,
for my country."

Now you're thinking he is lost it all,
But you would be incorrect for sure.

He found it.

The lilt of life that makes him rise
And greet each morn,
Even some sorry starless nights
With a First Poem of the Day.

I lilt you, one and all.
If you think this mis-wrote,
My auto correct mentally broke,
Meant to type I love you,
You'd be
Right but wrong,
I just lilt you.
^ "People, Stop Rhyming..."


^^The Rubiyat is not where I'm at,
The Acrostic, amusing, but let it be
Someone else's cross to bear.
That the Cinquain rhymes with pain,
No accident, and Tritina is but half of a Sestina,
But twice as hard, you could look it up.
The Quatorzain another French device inane.
Shakespeare's sonnets, nonpareil,
But, refrained, quatrained, by Iambic pentameter.
Ok! Maybe the meter makes the poem lilt sweeter!

This poem Lilt of Life, I commenced, on June 10th,  when  K Balachandran, Poet Extraordinaire
Wrote me about another poem: Three poems were walking down the street."

"I dig the title, not only the lilt, it sounds esoteric..something more hidden in it,unintentionally!"

I put the word Lilt in a Poem title file, wrote a line or two, then it aged till July 11th, when it just wrote itself. So today Bala corresponded as follows:
"creative instinct, particularly poetic surge has roots in imbalance (though i really don't believe) of the mind. Yes, during the moments poetic urge becomes a sort of agitation,
this may seem true, how can one deny it.."
This agitatation of which he writes, we are all familiar with, I am sure. We emote, we wrote.  Guilty as anyone.  But it took a month of silent, back room, hidden from me,
cogitation,
to complete the poem, when it emerged from gestation period in a few minutes.  I share this with you as a public reminder/chastisement to myself that writing is both push and pull, agitation and reflection, a process,. By way of humor, I wrote Po-hymn, in 20 minutes, threw it out here instantaneously, and then did minor tinkering.  Why? I wrote it with tears in my eyes, agitated, and the only way to stop the emotive upheaval, was share it with the people here ASAP!  So it goes both ways, but net net, write it, then let it age a day or mores, then let it go, give it up, after some:
cogitation
— noun
concerted thought or reflection; meditation; contemplation: After hours of cogitation he came up with a new proposal.

Rambling the point of which is to properly thank him in view of all for reminding me
all poems, must possess some kind of lilt and being the inspiration for this baby.




7/11/2013
LD Goodwin May 2013
My whippet ran
as fast as the wind.

With a cheetahs gate
he could catch all.

And now he rests
his race is done,
all rabbits happy.

*Shanzi is a syllabic poem in seven lines  4/5 5/4 4/4/5
Unrhymed
Lines 1 and 2   INTRODUCE the SUBECT
Lines 3 and 4   AMPLIFY what is affected by the image/subject.
Line 5 thru 7    Focus on NEW SUBJECT that complements and provides a meditative conclusion.
Shanzi may be Titled
Harrogate, TN  May 2013
Michael Mitchell May 2013
Salted waves unrhymed
Endless possibilities
Rough edges rounded
This poem was actually written in a short 5 minutes as part of an assignment from my school's poetry club. The random topic of "the Ocean" seemed a bit broad and expansive at first. But this mini writing project was actually pretty exciting!:)
-M&M
Sarah Spang Jul 2015
Here I am, I'm breathless
And you, you're just the same.
My recollections failed to serve you
Justice once again.

The sight of you has chased away
The numbness of my limbs.
My beacon cheeks are fire bright;
My widened eyes; a-swim.

And everything is rushing back
And hanging on my lips,
Unspoken words that surge and rush
Like blood to fingertips.

I wish my eyes were ocean tides
That rose over and crashed,
So I could saturate your core
And make my presence last.

Oh, that those waves could draw you out
And pluck your from the shore
I'd carry you away with me
To where we were before.



*Original, Unrhymed Notes

Here I am, and I'm breathless
And you're just as I remember you
The sight of you has chased away the cold
And I'm a beacon, all flushed cheeks
And wide eyes
My coltish knees locking
And suddenly I cannot make the words
That will carry be across this
Invisible ocean
Break across you like an
all-consuming wave.
CH Gorrie Sep 2012
Your sonnets? **** good,
though the rhymes unrhymed today.

Sincerest regards,
Edna St. Vincent Millay
LD Goodwin Nov 2014
My Whippet gone,
now dust once again.

I've given him back,
from whence he came.

To run again
in cosmic fields,
waiting to be born.

*Shanzi is a syllabic poem in seven lines  4/5 5/4 4/4/5
Unrhymed
Lines 1 and 2   INTRODUCE the SUBJECT
Lines 3 and 4   AMPLIFY what is affected by the image/subject.
Line 5 thru 7    Focus on NEW SUBJECT that complements and provides a meditative conclusion.
Shanzi may be Titled

Harrogate, TN  November, 2014
On November 4th, we put down our dog, Frazier. He was in our home for 17 years.
Dennis Willis May 2019
It's all about
The attention you get
Not from poetry

That's a bath
of unmatching
Angst

Uncounted syllables
and unrhymed
utterances

Splashing about like
some lower form
of soul

Raisins are needed
to offset
your parched

Appreciation and
foregiveness
that suicide themselves

in that barren
self
you call home
Gigi Tiji Oct 2014
sloshing through
the pipes, rats riding
a winding wave notwithstanding
the pull of the riptide untied and tried
typically clear blue true without you
unrhymed but confined and unheard
born broken unnurtured and blind
further outside of my mind you lined
the blinds with ******

but I heard her outside the lines
a herder, she shined in my eyes
reflecting signs of sobbing sighs
releasing white withering pines
bare blown apart mines
bland broken times
...meh
Isabelle Feb 2017
While at work
Random thoughts crosses my mind
Then I’ll hurry to my note
To write down the line

Along the formation of sentences
I always get lost in the process
Poetic thoughts and verses
Gets tangled, I can’t progress

So I ended up with chaotic words
Unrhymed lines and incoherent thoughts
Vague ideas, unfinished poems
Scribbles, doodles on my notes

I am chasing word per word
Trying to form even a rhyme
Or whatever comes my mind
Just to amuse myself during my boring work
The title says it all..
Feel Jan 2015
my writing, for you, unrhymed,
inspired, collective, untimed.

my wish, expired, worthless dime,
dropped, ignored, some great crime.

my love, for you, heavy climb,
unreachable, too far, too blind.

my ending, our tragedy, your prime,
soulless, tearful, wishful rewind.

our death, my wreck, you seem fine,
your words, my ears, tearfully unkind.

I believe, through days, through time,
but now, I know, you were never really mine.
Nat Lipstadt Jul 2014
Preface:
Even old poets can forget new tricks,
So when toe stubbed and ah ha benedicted,
Causes you to remember what you once knew,
It feels even better, like being crazy
Once in awhile,
Or wearing an untrimmed chest Jason smile.

for Bala, who inspired it many months ago., and first posted a tear ago today.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~



Eons ago converted to a new religion,
The Church of Free Verse.

If life be variable,
Usually unrhymed
A pencil sketch of crisscrossed lines,
No fixed metrical pattern assigned,
Than even more so, my poetry.

Once I regretted that the children,
Crack addicted to rhyming,
Used nickel bags and ******* lines
At the starting gate where all
Our associative poetry journey begins.

Perhaps, a tad arrogant, that diktat,
Nonetheless, unashamedly, nothing to recant.
Words have utility creative, souls innovative,
Free them guised as global explorers,
Make them up, then unleash them
Upon us, yourself, as detectives investigative.

Unchained myself like Houdini,
From water chambers and locks constraini.
What care I for poetic rules and regulations,
Got so many points, they tried to suspend
My government-issued poetic license.

Had myself forgot,
That a poem needs a
Frame of jungle gym sounds,
An aural aura resonance unbound.
Purposed to make the heart lift
Your ears say:

Say what!

It needs a tune,
An internal music,
It needs a lilt!
A cadence, that both
Marches and swings,
Even when'd urgent dirge
grief pours forth.

Yes my darling young ones,
Your writ of screams, like Bob Dylan's occasional schemes,
Celebrations of agonized lives of the criminally-pained,
Songs and cants of victims, love-cancer stained,
Require a whining, singsong beat.

{Poems so rad-sad that it makes this Jew
Genuflect and crisscross himself,
That he was blessed with a few good happy years,
In his reincarnated life of
A few centuries long.}

Learn 'em to sing their cries,
Harmonize the internality of love,
Or, even the infernal loss and lack thereof,
For it is the lilt
That makes, transforms a cry into a
Poem.

Even I on death's last stairway step,
When was called by the name of
Nate Hale,
My dying poem lilted, lifted and metered
"I only regret,
that I have
but one life,
to lose,
for my country."

Now you're thinking he, me, has lost it all,
But you would be incorrect, for sure.

He, me, found it.

The lilt of life that makes him rise
And greet each morn,
Even some sorry starless nights
With a First Poem of the Day.

I lilt you, one and all.
If you think this mis-wrote,
My auto correct mentally broke,
Meant to type I love you,
You'd be
Right but wrong,
I just lilt you.
Huda Dec 2015
I found a way, where the sunlight stolen kisses wakes me up and stars share their thoughts to put a different face on me and the unrhymed songs makes my life better, I sure found a way to be a little happy a way where everything that makes me a little happy is always there and it's satisfying.. But I don't completely want it, I miss you.
solEmn oaSis Jul 2022
( Episode 1- Putong )

Poong may Kapal
Kalong po'y Dasal
Noong ako'y pagal
Tulong mo'y Bukal

KulOng pa naman at sakal
dahong binasbas ay banal
Payong ay bukas sa lokal
Balong iniigiban ay moral

kay tagal sinasalubong ng daluyong
Kay bagal umusbong ng Kamagong
Dumatal na at lumipas rin ang dagundong
Kumintal pa rin sa akin hampas ng bagumbong

Ngayong patayo na nga si Pangulong Digong
Tayong mga Pinoy pa din ang pihong bayong
may layong muling maLulan ang panibagong pinunong
Mayroong Tapang sa Pagsulong ng Totoong PagkanLong

Mala-Antonio Luna ang dila,,,hinding-hindi umuurong
Andres Bonifacio naman kung sumugod,,pag itak ang umiiral
Samantala tila Apo Lakay kung umakay ng talino sa pag-usbong
At buwis benepisyo sa sarili ang ikararangal kapara ni Jose Rizal

Sa ngalan ng ama na naging kasing-tatag ng bumbong.,..
Paupo na nga at buong pagpupunyagi sa pagitan ng tipikal kontra kritikal...
Ang anak na itinakda walang iba kundi si Presidente Bongbong...
Ang ika-Labing pitong Pangulo ng Pilipinas , sa inang-bayan ay mapagmahal !!!

© June 8, 2022
Pen by soLemn oaSis


it is not emergency but so
merging epic getting-in to
" T M A L M " episode 2
          were
reminiscing and heading
on the way too,
right inside the ride
            where
i picked packed boom,
as i rewrite my old poem
entitled tic tac toe
           wears
a single syllabication
of chosen words' lyricism
narrated from start to end and
          bears
a no beware bars set up
until i care to dare
the bottom bares on top !
       fear
neither nobody nor elses foes
and heaven knows good son
who does one hell of a bad
       near
unproven bundled doses of unrhymed
lines made by those unarmed farmers
gonewild with unarmored poetries .
                    T  E  A  R ! ! !
             h  r  r  e
             r  a  r  p
            o  s  i  e
            u  u  v a
            g  r  e  t
             h  e  s  s
Inspired by history and events here in my homeland a.k.a orient pearl of far east
The Philippines
JaxSpade Nov 2019
Katauta is an unrhymed Japanese form consisting 0f 17 or 19 syllables in a 3 lined poem 5/7/7 or 5/7/5
These were usually lovers poems
Katautas were considered half poems

A pair of Katautas with syllable count 5/7/7
Is called a sedoka

Standing in your glow
In the aura of your smile
Makes me feel love in your light

Or

Embracing your heart
With each pound against my soul
Fills me with your love

Sedoka:
Your rose petal lips
Were so soft and full of love
Kissing me under the stars

Under the half moon
We stood together and stared
In the twilight of our eyes
Examples written by yours truly
Kurt Philip Behm Jan 2019
You’re interested in the idea
  of writing
   —I just want to write

You’re interested in the meaning
  of it all
   —the darkness and the light

You’re interested in the idea
  of writing
   —I don’t have the time

You’re interested in questions
  with answers
   —those one’s I’ll never rhyme

(Villanova Pennsylvania: April, 2015)
Lewis Bosworth Aug 2016
It’s the wee things that get to you,
the things that they – the invisible
“they” – don’t think of or deem –
what an egghead word – import.

Like the many languages Pope Francis
speaks to the poorest of the poor – just
books away from Revelation and the
end – apocalypse, they call it?

Like the simple task, simpletons do it
in political campaigns for the simplest
of the simple – cost deferred until a
position be taken if it isn’t ******.

Like the contours of the manhood of
the waiter leaning tightly against your
table – as he asks again if you want
your salad with French or Italian.

Like the death of Romano III, a cat of
nineteen, lying alone on a warm rug –
or it was a cold shoulder, the mother
lode of forgiveness.

Like the birth of an heir or heiress of
a circus regnant – a cut above the
silliest of the silly, dancing in the
streets to a playwright’s tunes.

Like the circumcision of a newborn
boy – a social decision on an *****
that doesn’t know itself until puberty,
an unfair decision by a man.

Like the baptism of a child – protection
against purgatory or is it the shoreline
of the Jordan where wading isn’t kosher
when the teenaged lifeguard is absent?




Like the final couplet of the last sonnet
of a poet – her celebration and self-worth
still unrhymed, its meter and iambs
unborn until next week.

Similes slant to the similar, metastasizing
and growing outside the box – oh, ****,
the poet says, her wings clipped by a
little thing like a pep rally.


© Lewis Bosworth, 2013
Software ******* up my lines in the 2nd-to-last stanza.  Thanks, Vicki,for your comment!
solEmn oaSis Jul 2022
it is not emergency but so
merging epic getting-in to
" T M A L M " episode 2
          were
reminiscing and heading
on the way too,
right inside the ride
            where
i picked packed boom,
as i rewrite my old poem
entitled tic tac toe
           wears
a single syllabication
of chosen words' lyricism
narrated from start to end and
          bears
a no beware bars set up
until i care to dare
the bottom bares on top !
       fear
neither nobody nor elses foes
and heaven knows good son
who does one hell of a bad
       near
unproven bundled doses of unrhymed
lines made by those unarmed farmers
gonewild with unarmored poetries .
                    T  E  A  R ! ! !
             h  r  r  e
             r  a  r  p
            o  s  i  e
            u  u  v a
            g  r  e  t
             h  e  s  s
tear may rate as reat !
once heard clearly by
an ear gifted of a wise listening ,
as clever as hearing skills of a rat.
yet stare without a tare ...
... there could be a lonely s
which stands for silent !
Such as e need not to spell rat
as well as t must pull out
to lend an ear for the voice
speech by an E T
-- Enhance Talking
in behalf of A R
-- Agrarian Reform
Ivon R Osillos Jun 2019
Poets never lie, never keep secrets.

They always find ways to reveal things.

If you only look closely,

Everything you will see.

From their smile every dawn

To their cry every sundown,

From their laugh every morning

To their sob every evening,

All are written on their papers.

Using rhymed and unrhymed words

If you're only analyzing their works,

You will know them deeply

And understand them surely.

They make wonderful pieces,

Behind those are bruises.

The melodic tone of their poems

Are the pains behind the vizard.

Every positive word they write.

Are from their pained hearts.

They never want to be pitied

Rather, wanted to be heard.

Every truth, they write.

Every piece is a secret.
So do keep it,

Most especially if you're not a poet!
Jayantee Khare Jun 2017
Everything started rhyming with me since i unrhymed with someone...
One needs to unrhyme with few things to set himself free and fit everywhere
Kurt Philip Behm Aug 2016
You can listen with hope,
  or listen in pain

But listen you shall,
  as my words will explain

“You were left in a tree trunk,
  neither hollow nor full

With a decision impending,
  a test of your will

Your words will define,
  what you praise or deny

Will they now come together,
  in the truth or a lie
  
Do you burrow on blindly,
  or tunnel beyond

What your comfort will dictate,
  what the blackness desponds

One choice lands in darkness,
  one reaches for light

My tracks through the shadows,
  your fear cannot light

It’s down to that moment,
  one last choice that defines

Will your soul choose redemption,
—or stay hidden unrhymed”

(Villanova Pennsylvania: August, 2016)
Kurt Philip Behm Sep 2019
Wrestling with time,
an illusion supreme

Its trinity empiric,
three masks to deceive

Past, future, and present,
our dreams undefined

Outside of their stricture,
new presence unrhymed

Rejecting convention,
short sighted and slight

Imprisoning our vision,
with capture and fright

In seizing this instant,
its moment sublime

All truth flowing freely
—unfrozen in time

(Villanova Pennsylvania: September, 2019)
Kurt Philip Behm Feb 2019
I once tried crossing over
  a bridge that silence built

And for mile after mile
  the quiet maimed and killed

My speech was dumb and dormant
  as I bided all my time

In hope of passing through the cracks
   the exit doors unrhymed

My life dead on arrival
  till a voice inside decreed

To build a frame beneath that bridge
   —and set my meaning free

(Villanova Pennsylvania: February, 2019)
Kurt Philip Behm Jun 2022
Drowning in whisky,
drunkard of time
Toasting the losers
—dying unrhymed

(McGarvey’s Saloon-Annapolis: June, 2022)
Kurt Philip Behm Jun 2019
Are you technically perfect,
  but spiritually weak

Are your words so well crafted,
  your soul cannot speak

Are your rhythms unmetered,
  your feelings unrhymed

Are you stuck in a format,
  that kills the sublime

Do your stanzas all end,
  their beginnings destroyed

Does your summation grieve,
  its parts overjoyed

Can you escape sophistry,
  your craft turned to art

Can you risk all rejection
   —to create with your heart

(Villanova Pennsylvania: November, 2016)

— The End —