Showing posts with label ballad. Show all posts
Showing posts with label ballad. Show all posts

Thursday, October 1, 2015

October Begins With Poe



Edgar Allan Poe, by Aubrey Beardsley




 Ulalume,  A Ballad

By Edgar Allan Poe
 
 
The skies they were ashen and sober;
      The leaves they were crispéd and sere—
      The leaves they were withering and sere;
It was night in the lonesome October
      Of my most immemorial year;
It was hard by the dim lake of Auber,
      In the misty mid region of Weir—
It was down by the dank tarn of Auber,
      In the ghoul-haunted woodland of Weir.

Here once, through an alley Titanic,
      Of cypress, I roamed with my Soul—
      Of cypress, with Psyche, my Soul.
These were days when my heart was volcanic
      As the scoriac rivers that roll—
      As the lavas that restlessly roll
Their sulphurous currents down Yaanek
      In the ultimate climes of the pole—
That groan as they roll down Mount Yaanek
      In the realms of the boreal pole.

Our talk had been serious and sober,
      But our thoughts they were palsied and sere—
      Our memories were treacherous and sere—
For we knew not the month was October,
      And we marked not the night of the year—
      (Ah, night of all nights in the year!)
We noted not the dim lake of Auber—
      (Though once we had journeyed down here)—
We remembered not the dank tarn of Auber,
      Nor the ghoul-haunted woodland of Weir.

And now, as the night was senescent
      And star-dials pointed to morn—
      As the star-dials hinted of morn—
At the end of our path a liquescent
      And nebulous lustre was born,
Out of which a miraculous crescent
      Arose with a duplicate horn—
Astarte's bediamonded crescent
      Distinct with its duplicate horn.

And I said—"She is warmer than Dian:
      She rolls through an ether of sighs—
      She revels in a region of sighs:
She has seen that the tears are not dry on
      These cheeks, where the worm never dies,
And has come past the stars of the Lion
      To point us the path to the skies—
      To the Lethean peace of the skies—
Come up, in despite of the Lion,
      To shine on us with her bright eyes—
Come up through the lair of the Lion,
      With love in her luminous eyes."

But Psyche, uplifting her finger,
      Said—"Sadly this star I mistrust—
      Her pallor I strangely mistrust:—
Oh, hasten! oh, let us not linger!
      Oh, fly!—let us fly!—for we must."
In terror she spoke, letting sink her
      Wings till they trailed in the dust—
In agony sobbed, letting sink her
      Plumes till they trailed in the dust—
      Till they sorrowfully trailed in the dust.

I replied—"This is nothing but dreaming:
      Let us on by this tremulous light!
      Let us bathe in this crystalline light!
Its Sybilic splendor is beaming
      With Hope and in Beauty to-night:—
      See!—it flickers up the sky through the night!
Ah, we safely may trust to its gleaming,
      And be sure it will lead us aright—
We safely may trust to a gleaming
      That cannot but guide us aright,
      Since it flickers up to Heaven through the night."

Thus I pacified Psyche and kissed her,
      And tempted her out of her gloom—
      And conquered her scruples and gloom:
And we passed to the end of the vista,
      But were stopped by the door of a tomb—
      By the door of a legended tomb;
And I said—"What is written, sweet sister,
      On the door of this legended tomb?"
      She replied—"Ulalume—Ulalume—
      'Tis the vault of thy lost Ulalume!"

Then my heart it grew ashen and sober
      As the leaves that were crispèd and sere—
      As the leaves that were withering and sere,
And I cried—"It was surely October
      On this very night of last year
      That I journeyed—I journeyed down here—
      That I brought a dread burden down here—
      On this night of all nights in the year,
      Oh, what demon has tempted me here?
Well I know, now, this dim lake of Auber—
      This misty mid region of Weir—
Well I know, now, this dank tarn of Auber—
      In the ghoul-haunted woodland of Weir."

Said we, then—the two, then—"Ah, can it
      Have been that the woodlandish ghouls—
      The pitiful, the merciful ghouls—
To bar up our way and to ban it
      From the secret that lies in these wolds—
      From the thing that lies hidden in these wolds—
Had drawn up the spectre of a planet
      From the limbo of lunary souls—
This sinfully scintillant planet
      From the Hell of the planetary souls?" 
 
 
 
Because, it is the first day of October, and October needs to start with Poe. 
 
 
 
Image: Art by Gustave Doré (French, 1832–1883). Illustration for "Donkey-Skin [Peau d’Âne]", a fairytale by Charles Perrault that appeared in his "Histoires ou contes du temps passé," 1697.
 
 

Thursday, April 9, 2015

Jack of Storms







'Lily called another bet/and drew up the Jack of Hearts...'


Jack of Storms



We played our game of chance
on a table slick
 with wagers of wind
winnings of clouds
for lovers turned cheaters.
You'd already palmed the Queen of Night
to deal me the Jack of Storms.

You pulled in the chips
carried bent coins and paper
off in your pockets.
I can't say I even counted
just how much I'd lost
to that flickering face
seen for only a moment,

that smiling Janus-queen
who took my jack
for want of the king
left
up your sleeve.



~April 2015






posted for      real toads

Challenge: Words and Art
I chose music rather than visual art. This is a dashed-off poem I wrote from a phrase that came in a dream-- jack of storms---which immediately reminded me of this rather silly, longwinded Bob Dylan song/ballad, (which I do love  but for which there's no need to listen to all nine of its gymnastic minutes) and I offer it very unseriously to this prompt in the spirit of April spontaneity.


Process note: Janus is the god, who, like a playing card, shows two faces.


Image: The Fool, from the Rider-Waite Tarot Deck. Public domain.

Friday, April 3, 2015

The Ravensong



The Ravensong



A warrior sings his death song:
'We struck with our swords.
I saw a host that morning
bow before the blade's edge...'

When his life completes, a man sings
the ravensong; he tells of his deeds,
enemies dead at his feet,
beasts brought to their knees.

'We struck with our swords.
the slain lay athwart one another
the spear-clash's cuckoo [the raven]
was cheered...'

At days' end, an old woman
sings her tale of ripe womb-apples
each more a battle than the wolf
at the throat, the axe-arc, the sword swing.

A woman sings her death song:
'In blood I brought forth,
at breast I nursed them on
and some yet stand to take me home.'

Can there be no other tune
to the ravensong then; only birth
and death under sun or moon,
for when the end comes?

'We struck with our swords;
it wasn't like a warm bath...
I saw the battle-moon burst
broken were the lives of men...'

'We struck with our swords
so it then was destined...' but what
of the one who sings of the day
the soil broke for the hand-rake

how the black earth was bent,
for the far-furrowed seeds
with unwavering intent
not to bear grain but only feed bees,

how nothing was slain, nothing was made
but color and scent, how a hand,
stretching, was put on the wind,
and it covered the land.


'We struck with our swords
So long ago it was...
[If] hope of life is lost now
laughing shall I die."


~April 2015




If you would like to hear the poem read by the author, please click below:


 









posted for    real toads




Challenge: Fireblossom Friday
Shay (the Word Garden) wants us to write a song lyric today. Because she knows me well, she has given me personal permission to go back a few dozen centuries, and even stipulated that I could include Vikings, and severed heads if necessary. Taking great liberties with sequence, I have chosen to present excerpts of a very ancient poem, called Krákumál, which is written in ten line stanzas in a particularly tricky skaldic form, which I have not tried to reproduce, using a more traditional English form, the ballad, as my base, though I have mostly replaced the traditional ABCB rhyme with just meter and slant rhyme.  Krákumál was almost certainly meant to be recited  or sung as a sort of chant, or lyric, so hopefully between the skald's words and mine, I have met the challenge.
 More info below.





Process notes: Words in italics are from Krákumál, translation, Ben Waggoner. The phrase 'the spear-clash's cuckoo' is a skaldic poetic device known as a kenning, where an obscure but descriptive set of words is used in place of a more common term. In this same fashion, 'the battle-moon' refers to a shield, and I intend 'ripe womb-apples' to mean grown children.

Krákumál or the Song of the Crow ( in Old Norse: kråka= Crow) concerns events in 9th century Scandanavia and the British Isles, but dates in its first found instance to around 1230. It ' is an example of a "life-poem" (aevikvida)...in which the speaker reviews the deeds of his life, often as he is dying...similar poems exist in other early...languages, such as Beowulf's death speech in Beowulf. Krákumál may have been composed in Orkney or Scotland...the style is similar to known skalds [there]..." ~Waggoner, The Sagas of Ragnar Lodbrok










Images: all rights reserved by, copyright and  courtesy of  Silvan-Massa at Deviant Art, reproduced without any modifications.



Tuesday, April 15, 2014

The Fox And The Moon





The Fox And The Moon
A dream ballad 



The four-headed moon, the nine-tailed fox
came by last night and they didn't knock.
In at the doormouth, down through the flue;
what they had to tell me I can't tell you.

The fox was sleek as an August mare
that rolls off her back and outruns the bear,
but the blood on his lips ran Malbec red
and he ate the thing a mare's not fed.

Then the moon shook the wand with her shrunken heads
in the place where she had me four times trapped
with her eyes sewn shut, all her tongues cut out--
so I don't know why I still heard her laugh.

The four-headed moon, the nine-tailed fox
came to my house with the broken locks.
There was no running then, nowhere to wake;
there was only the wish that I wished too late.





~April 2014





posted for     real toads
Challenge: The Ballad Form
Kay Davies(An Unfitttie's Guide To Adventurous Travel) asks us to write a poem of at least two four-line stanzas in the ballad form. I am pretty sure this falls into the 'literary ballad' category, if it falls into *any* category, that is. The rhyme scheme is rather arbitrary, and includes traditional AABB, a stanza with only one rhyme, and chained rhyme, in no particular plan.








Process Notes:  I've written about the nine-tailed fox  before, in this terza rima. He or she is generally a demonic sort of shape-shifter-being in several Asian mythologies. The fox, or kitsune, in Japanese myth can kind of go either way, but when it is bad, it is very bad. The four-headed moon I made up, though I did hear something about a tetrad of lunar total eclipses this year, a rather unusual celestial line-up which we can go centuries without seeing. In fact, I just came in from looking at what some are calling the first 'blood moon.'










Top Image: Fox in the Reeds, cica 1930, by Ohara Koson
May be protected by copyright. Posted under fair use guidelines via wikipaintings.org
Footer: Untitled, by Zdislav Beksinski
May be protected by copyright. Posted under fair use guidelines via wikipaintings.org




Tuesday, February 26, 2013

The Hell Tithe






The Hell Tithe
A Ballad


And if any gaze on our rushing band,
We come between him and the deed of his hand,
We come between him and the hope of his heart.
The host is rushing 'twixt night and day,
And where is there hope or deed as fair?

~The Hosting of the Sidhe, W.B. Yeats 


It was a night midwinter blue
when never a stick did bloom
that the twin-horned Huntsman came to earth
for the maid beneath the moon.

The wind blew a horn as cold as grief
for a tale too lost to tell.
His hounds bayed twice in rain-dead sky,
come for the tithe to Hell.

"You've unbound your nightblack hair,
the marble's in your cheek.
Your eyes are blue as columbines;
your breast is soft as cake.

Your path is clouds, your path is wind,
your touch is the color of air.
Your mother owns the middle way,
but your father never walked there.

His folk have forever under the hill
and the dance in the moonmad dell.
His folk have life because this night
they pay the tithe to Hell.

I do not fetch the canting fool,
I do not call the mistake.
I come to take the green glass heart
that earth will only break."

She raised the light of her flower face;
he sprung to his deathwhite horse,
and never more she saw this earth
who rode on the Wild Hunt's course.

~February 2013





posted for   dVerse poets



Process Notes: Teind is a Scots word for tithe, in particular the 'hell tithe' which the faeries must pay the devil (one of the many traditional leaders of the Wild Hunt) for their longevity: one of their own kind every seven years.


Optional Musical Accompaniment:




Header Image: Cuirassier, Henri de Toulouse-Lautrec 1881
Footer Image: The Sonambulist, John Everett Millrais 1871
Public domain