Linda's Literary Home

Tag: faith

  • If My Words Could Rise & Other Poems

    Image: If My Words Could Rise & Other Poems

    Dedicated with my love and gratitude 
    to my sweet Ron

    The following poems appear in my collection titled If My Words Could Rise, available on Amazon as paperback or Kindle.

    If My Words Could Rise

    Dedicated to my sweet Ron

    If my words could rise
    Like smoke
    They would form your face
    In the clouds
    They would hang
    In the tops of the trees
    Looking for a nest
    Where a mother bird sits
    On eggs
    The color of your eyes

    2 In the Tops of the Trees

    “As soon as you hear the sound of marching in the tops of the trees, then attack, for God has attacked in front of you to defeat the Philistine army.” —2 Samuel 5:25 Common English Bible

    –for the moldman, who screeched, “That’s my line!”

    No, dude, that is not your line!
    No matter how many times
    Or with how much spit
    You spew it.

    Trees and their tops
    And the words they live in
    Belong to all of us.  Go!
    Dig your hole–grovel in your slime.

    3 Dreams and Days

    “His tongue cuts / Slices of meat / From the hearts / And livers / Of those / Who would love him” – “Between Slices of Bread” —from Linda Sue Grimes’ At the End of the Road

    I quote myself, well then,
    I quote myself —
    I include multitudes —
    Uncle Walt taught me that much.

    The man in the poem
    Cannot bring himself to say
    Or to pray about his own lividness
    He shuts out spaces and commas
    Lives in his own relevance.

    He murders his own children
    With his viper attitude
    And nibbles the ankles
    Of prostitutes
    Who erase his will to power on.

    You have seen him
    Perhaps did not recognize him —
    He has sat in your parlor
    Sipping your coffee
    Dusting off his duplicitous moves —

    He fears death but not yours
    He imagines you at the bottom
    Of a cold, black ocean
    Your tongue bait for the fishes
    His Bolshevik brain conjures.

    Your freedom is a fantasy 
    If you remain too close to his heat
    Get your life back – get your love back
    Where God made you in his image
    And you are close to seeing it.

    4 Flesh and Desire

    Humankind cannot bear very much reality.”  —T. S. Eliot

    Into the fire of wisdom, thoughts go to perish.
    “Get thee behind me, Satan!” Christ commands.
    But we still wobble behind the Devil
    Hoping to be snatched from the arms of death
    In time for supper and for the many tomorrows
    We image we still possess.
    In the valley of dreck and poison, I have lived
    Even as I knew better or thought I did.
    No, I am not here to testify.
    Although a word or two of testimony
    May slip out every line or so!
    I can pound sand with the best of them.
    But I can also bitch and moan.
    Where is the beginning of joy and rectitude?
    One might ask.  Where is the promise?
    O, come on!  You know where the promise is . . .
    Yes, just testing the waters and they are warm.
    Every time I delay, I am warned.  Just pray
    And wait and listen close and tight to the hum
    In the brain.  I will follow.  I will follow close.
    Yes, I will.  And flesh with its crude desire
    Will no longer taint the years
    With their distractions.
    The mercy of Spirit will wipe my tears. 

  • Command Performance: Singing for God and Guru

  • Singing in Soul Silence: Voices of Faith 

    Image:  Singing in Soul Silence: Voices of Faith 

    Singing in Soul Silence: Voices of Faith 

    for Ron, who makes my life a place for poetry

    The following poems appear in my collection titled Singing in Soul Silence: Voices of Faith available on Amazon.

    1 Invitation

    Into my garden of weeds 
    Come, Eternal Gardener— 
    Teach me to plant and prune fine foliage.
    Show me where to set the lilies and tulips
    And where the roses should grow.
    Guide my choices of herbs and vegetables.
    Give me knowledge of fertilizer and fences.

    Into my garden of words
    Come, Eternal Poet—
    Make my poems exude divine ardor.
    Fashion my thoughts to bow at your feet.
    Make my images spout living waters
    From an enlightened fount
    To refresh all who dip a cup.

    2 In My Spiritual Garden

    In my spiritual garden
    I walk with you when the sun is medicine
    And the rain suckles the beets and corn.
    I walk with you between the rows of memories
    Where love holds you between peppers and tomatoes.

    I walk with you along the fence
    And touch your hand and step across
    Thinking of you as I pick the peas,
    Still thinking of you as I weed 
    The beans and cucumbers.

    I walk with you and with every silent step
    And every moment of your absence
    That would weaken the faith of one
    Less in love, my love grows deep
    Like the roots of the bamboo and my love
    Grows straight like the stalks of asparagus.

    In my spiritual garden I will always grow you
    In the medicine sun and the suckling rain.

    3 Divine Gardner

    After we scoop the soil
    over the seeds
    & sprinkle the water
    & pluck the weeds,

    you will tend the growing
    & tempt the eye with green
    & yellow peppers,
    & tempt the tongue
    with onions & corn,
    & invite us to taste your flesh
    in cucumbers & tomatoes.

    I will stand at the edge of the garden,
    my lips & tongue tending the silence
    I learn to thank you with.

    4 My Divine Beloved

    When spring comes
    Tilling the ground
    I will plant seeds
    And think of you
    You are earth
    You build my body.

    When spring comes
    Showering young plants
    I will sing with raindrops
    And think of you
    You are water
    You carry my life.

    When spring comes
    Warming my limbs
    I will brown my skin
    And think of you
    You are fire
    You inflame my heart.

    When spring comes
    Swirling on the wind
    I will lean into it
    And think of you
    You are air
    You clear my mind.

    When spring comes
    Rising from winter’s tomb
    I will sing devotion
    And think of you
    You are my Divine Beloved
    You revive my soul.

    5 Your Divine Love

    My heart is a lake I swim in,
    But I want to float in the ocean of your love.

    My mind is a sky I fly through,
    But I want to soar through your omniscient love.

    My soul is an undiscovered star,
    But I want to find it shining in your flaming love.

    My dream spreads out in all directions,
    Searching for the boundary of your Divine Love.

    6 Cosmic Beloved

    Though my heart is fickle
    And strays from you,
    You never stray from me.
    Your love for me
    Never waivers.

    You came to me in youth’s naiveté
    And married my folly,
    And for a time I slept without rest
    In the arms of a splintering sorrow
    Deep within a cave of madness.
    When I emerged from that black night,
    You greeted me as my daughter.
    You blessed the rest of my life
    With a holy union when you became 
    My true mate with whom I rest
    In the cave of a peaceful heart.
    And you greet me as my son.

    When I go off from time to time
    To carouse with the lesser lights
    Of poets and painters and dabblers
    In pursuit of knowledge,
    You become each one of them
    So you can stay by my side—

    You love me that much.

    © Linda Sue Grimes 2013.  All rights reserved.

  • Gary Clark’s “Mary’s Prayer”: A Yogic Interpretation

    Image:  Gary Clark  – Daily Record

    Gary Clark’s “Mary’s Prayer”: A Yogic Interpretation

    Employing the Christian iconic mother figure, the song “Mary’s Prayer” offers a marvelous corroboration of concepts between Christianity, taught by Jesus the Christ and Yoga, taught by Bhagavan Krishna.

    Introduction and Excerpt from “Mary’s Prayer”

    The song “Mary’s Prayer” is from the album Meet Danny Wilson by the 1980s Scottish rock band Danny Wilson. Lead singer of the group and the writer of the song is Gary Clark.  About the song, Gary Clark, the songwriter, has explained

    There is a lot of religious imagery in the song but that is really just a device to relate past, present, and future. It is basically just a simple love song. In fact I like to think of it as being like a country and western song.

    A Yogic Interpretation

    By quipping that his song “is basically just a simple love song,” Gary Clark is being overly modest; on the other hand, he could possibly have meant the tune to be a “simple love song,” but its use of imagery opens the possibility of a deeper interpretation than one traditionally  associated with a “simple love song.”  Thus, I offer my interpretation of Clark’s song, based on my primary method of poetry interpretation, which I label “Yogic Interpretation.”

    This yogic interpretation of Gary Clark’s “Mary’s Prayer” reveals the spiritual nature of the song.  The allusion to the Christian icon “Mary” alerts the reader to the significance of the song as it transcends the stature of a love song to a human lover, although it can certainly be interpreted to include that possibility.  The chorus of the tune offers a lengthening chant, which uplifts the mind directing it toward the Divine Goal of spiritual union.

    The narrator/singer of the song “Mary’s Prayer” is revealing his desire to return to his path to Soul-Awareness, which he has lost by a mistaken act that turned his attention to the worldly thoughts and activities that replaced his earlier attention to his spiritual realm.

    The noun phrase, “Mary’s Prayer,” functions as a metaphor for Soul-Awareness, (God-Union, Self-Realization, Salvation are other terms for this consciousness).  That metaphor is extended by the allusions, “heavenly,” “save me,” “blessed,” “Hail Marys,” and “light in my eyes.”  All of these allusions possess religious connotations often associated with Christianity.  

    The great spiritual leader, Paramahansa Yogananda, has elucidated the comparisons between original Christianity as taught by Jesus Christ and original Yoga as taught by Bhagavan Krishna.

    Danny Wilson – “Mary’s Prayer” 

    Mary’s Prayer

    Verse 1

    Everything is wonderful
    Being here is heavenly
    Every single day she says
    Everything is free 

    Verse 2

    I used to be so careless
    As if I couldn’t care less
    Did I have to make mistakes
    When I was Mary’s prayer? 

    Verse 3

    Suddenly the heavens roared
    Suddenly the rain came down
    Suddenly was washed away
    The Mary that I knew 

    Verse 4

    So when you find somebody to keep
    Think of me and celebrate
    I made such a big mistake
    When I was Mary’s Prayer

    Chorus

    So if I say save me, save me
    Be the light in my eyes
    And if I say ten Hail Marys
    Leave a light on heaven for me 

    Verse 5

    Blessed is the one who shares
    Your power and your beauty, Mary
    Blessed is the millionaire
    Who shares your wedding day 

    Verse 6

    So when you find somebody to keep
    Think of me and celebrate
    I made such a big mistake
    When I was Mary’s Prayer

    Chorus

    So if I say save me, save me
    Be the light in my eyes
    And if I say ten Hail Marys
    Leave a light on heaven for me

    Save me, save me
    Be the light in my eyes
    And if I say ten Hail Marys
    Leave a light on heaven for me

    Verse 7

    If you want the fruit to fall
    You have to give the tree a shake
    But if you shake the tree too hard,
    The bough is gonna break 

    Verse 8

    And if I can’t reach the top of the tree
    Mary you can blow me up there
    What I wouldn’t give to be
    When I was Mary’s prayer

    Chorus

    So if I say save me, me save me
    Be the light in my eyes
    And if I say ten Hail Marys
    Leave a light on heaven for me 

    Save me, save me
    Be the light in my eyes
    And if I say ten Hail Marys
    Leave a light on heaven for me

    Save me, save me
    Be the light in my eyes

    What I wouldn’t give to be
    When I was Mary’s prayer

    What I wouldn’t give to be
    When I was Mary’s prayer

    What I wouldn’t—save me—give to be
    When I was Mary’s prayer

    Commentary on “Mary’s Prayer”

    A yogic interpretation of Gary Clark’s “Mary’s Prayer” reveals the song’s spiritual nature.   The allusion to the Christian icon “Mary” alerts the reader to the spiritual significance of the song causing it to transcend the stature of a love song to a human lover.

    First Verse:   Declaring a Spiritual Truth

    Everything is wonderful
    Being here is heavenly
    Every single day, she says
    Everything is free 

    The narrator/singer begins by declaring a spiritual truth, “Everything is wonderful,” and that being alive to experience this wonderfulness is “heavenly.”  The following lines report that each day provides a blank slate of freedom upon which each child of the Belovèd Creator may write his/her own life experiences. 

    “She” refers to Mary, who has authority to make such judgments, as the narrator states. The historical and biblical Mary, as the mother of one of the Blessèd Creator’s most important avatars, Jesus the Christ, holds special power to know the will of the Divine Creator and dispense wisdom to all children of that Creator.

    Therefore, the prayer of Mary is dedicated to each child of the Heavenly Creator, and her only prayer can be for the highest good of  the soul, and the highest good is that each offspring of the Belovèd Lord ultimately know him/herself as such.

    Thus, Mary sends the faithful “every single day” and “everything is free.” Every creature, every human being, every creation of the Divine Creator’s is given for the nurturance, guidance, and progress of each soul made in the Creator’s image.

    Second Verse:  The Care and Feeding of the Soul

    I used to be so careless
    As if I couldn’t care less
    Did I have to make mistakes?
    When I was Mary’s prayer 

    In the second verse, the narrator, having established his knowledge of the stature and desire of Mary, contrasts his own status. He was not been dedicated to his own salvation; he hardly paid any attention to the care and feeding of his soul. It’s as if he could not have “cared less” about the most important aspect of his being. 

    But that is the past, and the narrator now realizes that he made mistakes that have led him in the wrong direction, and he now wonders if he really had to make such a mess of his life.  After all, he was “Mary’s prayer” — the Blessèd Mother had offered him the blessing of soul-union, but through his mistakes he had spurned that offering.

    Third Verse:  Losing Sight of the Blessèd Mother

    Suddenly the heavens roared
    Suddenly the rain came down
    Suddenly was washed away
    The Mary that I knew
    So when you find somebody who gives
    Think of me and celebrate
    I made such a big mistake
    When I was Mary’s Prayer

    The narrator then reveals that through some great and fearful event that caused the heavens to move and rain to pour down, his life had become devoid of the love and caring that had been bestowed on him by Mary.  He no longer knew how to pray or how to feel the grace and guidance of the Blessèd Mother.

    Fourth Verse:  Missing a Great Opportunity

    So when you find somebody to keep
    Think of me and celebrate
    I made such a big mistake
    When I was Mary’s Prayer

    The singing narrator then offers his testimony that having a soul guide, who gives as the blessèd Mary gives, must be kept and celebrated and not merely cast off as the narrator had done. He confesses again that he “made such a big mistake” at a time that he could have just grasped the heavenly protection, while he was “Mary’s prayer.”

    Chorus:  Introduction of the Chant in Four Lines

    So if I say save me save me
    Be the light in my eyes
    And if I say ten Hail Marys
    Leave a light on heaven for me 

    Turning to prayer can be difficult for the one who has deliberately left it behind and perhaps forgotten its efficacy. But the narrator is once again taking up his prayers. He is now calling out to the Blessèd One, even though he frames his supplication in “if” clauses: he cries, “So if I say save me, save me / Be the light in my eyes.” He demands from the Divine Mother that she return to him as the light of his eyes, which had left him.

    Furthermore, and again framing his supplication in an “if” clause, he cries, “And if I say ten Hail Marys,” but yet again demands that she “Leave a light on in heaven for me.” The “if” clause followed by a demand seems contradictory, but the narrator is in distress and is confounded by his failures and his former indifference. The chorus of this song functions as a chant as it grows from four lines to its final iteration of sixteen lines that complete the song. 

    Fifth Verse:  Rich in Spirit

    Blessed is the one who shares
    The power and your beauty, Mary
    Blessed is the millionaire
    Who shares your wedding day

    Still in supplication to the Divine Blessèd Mother, the narrator now simply voices what he knows to be the influence of the Divine One: anyone who accepts and transforms his life according to “the power and the beauty” of Mary will find him “a millionaire.” Not necessarily financially rich—but much more important, rich in spirit. The great wedding of the little soul to the Oversoul will be the richest blessing of all.

    Sixth Verse:  Emphasizing the Need to Celebrate and Remember

    So when you find somebody to give
    Think of me and celebrate
    I made such a big mistake
    When I was Mary’s Prayer

    The sixth verse is a repetition of the fourth. It functions to reiterate the importance of the narrator’s awareness of the need to celebrate those giving beings as well as the vital necessity that he realizes what a “big mistake” he made “when [he] was Mary’s Prayer.”

    Chorus:  Continuing the Chant with Repetition

    So if I say save me, save me
    Be the light in my eyes
    And if I say ten Hail Marys
    Leave a light on heaven for me

    Save me, save me
    Be the light in my eyes
    And if I say ten Hail Marys
    Leave a light on heaven for men

    The chorus again becoming an enlarging presence serves to direct the mind Heaven-ward, while reminding the singer of his purpose for singing, for addressing his Divine Belovèd and keeping the mind steady.

    Seventh Verse:  Gathering the Effects of Yoga

    If you want the fruit to fall
    You have to give the tree a shake
    But if you shake the tree too hard,
    The bough is gonna break

    The penultimate verse offers a metaphor of gathering fruit from a tree which likens such gathering to the yoga practice that leads to Self-Realization or God-union.  Shaking the tree gently will result in fruit falling, but shaking “the tree too hard” will break the bough. Yoga techniques must be practiced gently; straining in yoga practice is like shaking the tree too hard, which will result in failure to attain the yogic goals.

    Eighth Verse:   Upward Movement Through Faith

    And if I can’t reach the top of the tree
    Mary you can blow me up there
    What I wouldn’t give to be
    When I was Mary’s prayer

    The final verse also employs a tree metaphor. The narrator, who is once again firmly on his spiritual path, expresses an extremely important truth that each devotee must cultivate: faith that the target of his goal can lift the devotee at any time. 

    The narrator colorfully expresses this truth by stating, “And if I can’t reach the top of the tree / Mary you can blow me up there.”  And finally, he expresses his regret for allowing Mary to escape him: he wants to become “Mary’s prayer” once again, and he would give anything to do so.

    Chorus:  The Efficacy of the Chant

    So if I say save me, me save me
    Be the light in my eyes
    And if I say ten Hail Marys
    Leave a light on heaven for me 

    Save me, save me
    Be the light in my eyes
    And if I say ten Hail Marys
    Leave a light on heaven for me

    Save me, save me
    Be the light in my eyes
    What I wouldn’t give to be
    When I was Mary’s prayer

    What I wouldn’t give to be
    When I was Mary’s prayer
    What I wouldn’t—save me—give to be
    When I was Mary’s prayer

    The chorus doubled from its first iteration of four lines featured after the fourth verse to eight lines following verse six.  Then it doubles again following the final verse, finishing with sixteen lines.  

    The marvelous effect of the chant places the song squarely within the yogic practice of employing repetition to steady and direct the mind to its goal of union with the Divine. The song finishes with the much enlarged chorus, which is not only musically pleasing, but also shares the efficacy of a chant that draws the mind closer to its spiritual, yogic  goal.

  • Henry Wadsworth Longfellow’s “A Psalm of Life”

    Image: Henry Wadsworth Longfellow

    Henry Wadsworth Longfellow’s “A Psalm of Life”

    The speaker in Henry Wadsworth Longfellow’s “A Psalm of Life” is offering sage advice regarding the notion that each individual must face life with determination to be successful and fill one’s life with achievements.  The alternative renders the soul dead or simply slumbering without purpose.

    Introduction and Text of “A Psalm of Life”

    Henry Wadsworth Longfellow’s poetry was enormously popular and influential in his own lifetime. Today, most readers have heard his quotations so often that they have become “part of the culture.”

    For example, many readers will recognize the line, “Into each life some rain must fall,” and they will find that line in his poem called “The Rainy Day.” No doubt it is this Longfellow poem that helped spread the use of “rain” as a metaphor for the melancholy times in our lives.

    Longfellow was a careful scholar, and his poems reflect an intuition that allowed him to see into the heart and soul of his subject.  Critic and editor J. D. McClatchy says that Longfellow was “fluent in many languages,” and the poet translated such works as Dante’s The Divine Comedy.

    Other Longfellow translations include “The Good Shepherd” by Lope de Vega, “Santa Teresa’s Book-Mark” by Saint Teresa of Ávila, “The Sea Hath Its Pearls” by Heinrich Heine, and several selections by Michelangelo [1].

    The poet also achieved fame as a novelist with his novel Kavanaugh: A Tale. This work was touted by Ralph Waldo Emerson for its contribution to the development of the American novel.  Longfellow also excelled as an essayist with such works as “The Literary Spirit of Our Country,” “Table Talk,” and “Address on the Death of Washington Irving.”

    The poet’s highly spiritual poem “A Psalm of Life” offers a wise piece of advice regarding the issue of facing life with a proper positive attitude.  The alternative is to allow life to defeat one’s spirit which leads to failure and lack of achievement.  

    Longfellow has said that the poem is “a transcript of my thoughts and feelings at the time I wrote, and of the conviction therein expressed, that Life is something more than an idle dream” [2].

    A Psalm of Life

    What The Heart Of The Young Man Said To The Psalmist.

    Tell me not, in mournful numbers,
    Life is but an empty dream!
    For the soul is dead that slumbers,
    And things are not what they seem.

    Life is real! Life is earnest!
    And the grave is not its goal;
    Dust thou art, to dust returnest,
    Was not spoken of the soul.

    Not enjoyment, and not sorrow,
    Is our destined end or way;
    But to act, that each to-morrow
    Find us farther than to-day.

    Art is long, and Time is fleeting,
    And our hearts, though stout and brave,
    Still, like muffled drums, are beating
    Funeral marches to the grave.

    In the world’s broad field of battle,
    In the bivouac of Life,
    Be not like dumb, driven cattle!
    Be a hero in the strife!

    Trust no Future, howe’er pleasant!
    Let the dead Past bury its dead!
    Act,— act in the living Present!
    Heart within, and God o’erhead!

    Lives of great men all remind us
    We can make our lives sublime,
    And, departing, leave behind us
    Footprints on the sands of time;

    Footprints, that perhaps another,
    Sailing o’er life’s solemn main,
    A forlorn and shipwrecked brother,
    Seeing, shall take heart again.

    Let us, then, be up and doing,
    With a heart for any fate;
    Still achieving, still pursuing,
    Learn to labor and to wait.

    Sources for the Introduction

    [1] J. D. McClatchy, editor.  Longfellow: Poems and Other Writings. The Library of America. 2000.  Print.

    [2] Andrew Hilen, editor. The Letters of Henry Wadsworth Longfellow. Harvard University Press. 1966.

    Commentary on “A Psalm of Life”

    The speaker in Henry Wadsworth Longfellow’s “A Psalm of Life” presents life as an instrument for striving and achievement; he challenges individuals to think and peer beyond the certainty of death and to tirelessly work toward achieving worthwhile goals. 

    The poem urges readers to take inspiration from the lives of great men of high accomplishments, to act in the eternal now, and to leave behind a legacy (“footprints in the sands of time” ) that will inspire others to follow their own goals on their personal paths through life.

    First Stanza:  Confronting and Rebutting Pessimism

    Tell me not, in mournful numbers,
    Life is but an empty dream!
    For the soul is dead that slumbers,
    And things are not what they seem.

    In one of his most widely anthologized poems “A Psalm of Life,” Henry Wadsworth Longfellow creates a speaker who is openly and  directly confronting pessimism.  The command, “Tell me not, in mournful numbers,” immediately heralds a defiant tone, indicating that the speaker eschews the notion that life remains nothing more than an “empty dream.” 

    The speaker opines and asserts that a passive, slumbering soul is “dead” and that appearances can be deceiving—life’s true value is not found in relinquishment of duty or rolling over and playing dead.

    Second Stanza:  A Declaration of  Transcendental Life

    Life is real! Life is earnest!
    And the grave is not its goal;
    Dust thou art, to dust returnest,
    Was not spoken of the soul.

    In the second stanza, the speaker is declaring that life is real and earnest. He refutes the notion that the graveyard is life’s ultimate destinational goal.  By quoting the Biblical injunction, “dust thou art, to dust returnest,” he distinguishes an important, vital difference between the physical encasement and the eternal soul, which confirms that the true purpose of living the life of a human being is to transcend mortality.

    Third Stanza:  Defeating the Pairs of Opposites

    Not enjoyment, and not sorrow,
    Is our destined end or way;
    But to act, that each to-morrow
    Find us farther than to-day.

    The third stanza reveals that pleasure, sorrow, and other sense factors involving the pairs of opposites are also not the ultimate aim of existence. 

    Instead, the speaker calls for active duty and acceptance of responsibilities as the way to progressive evolution. Each day should fulfill some advancement in one’s goal, and not merely remain a repetition of mundane activities or a  stagnation of routine.

    Fourth Stanza:  Time Marches On, but Keep On Keeping On

    Art is long, and Time is fleeting,
    And our hearts, though stout and brave,
    Still, like muffled drums, are beating
    Funeral marches to the grave.

    The speaker then addresses the struggle between human desires and ambition and the relentless onslaught of time as it ticks on and on.  The metaphor of “muffled drums” beating “funeral marches to the grave” emphasizes drearily the inevitability that death continues to approach, yet the speaker continues to urge his fellow human beings to remain “stout and brave” despite these unsavory facts.

    Fifth Stanza:  Confronting the Battlefield of Life

    In the world’s broad field of battle,
    In the bivouac of Life,
    Be not like dumb, driven cattle!
    Be a hero in the strife!

    The speaker in the fifth stanza then turns to a military metaphor, likening life to a battlefield. He exhorts readers again not to remain passive or herd-like (“dumb, driven cattle”), but to always strive heroically as they meet life’s struggles and set-backs.

    Sixth Stanza:  The Importance of the Eternal Now

    Trust no Future, howe’er pleasant!
    Let the dead Past bury its dead!
    Act,— act in the living Present!
    Heart within, and God o’erhead!

    The speaker now is admonishing his fellows against both relying on the future or on dwelling on the past. The command to “act in the living Present” becomes cardinal to the poem’s message. 

    The phrase “Heart within, and God o’erhead!” states in no uncertain terms that inner determination and divine protection and guidance are major sources of the necessary strength required to meet all the challenges that life is apt to throw at the human mind and heart.

    Seventh Stanza:  Emulating the Example of Greatness

    Lives of great men all remind us
    We can make our lives sublime,
    And, departing, leave behind us
    Footprints on the sands of time;

    In the seventh stanza, the speaker is providing the example of great men to inspire the reader.  The lives of great men of the past and present clearly and convincingly demonstrate that it is possible for each human being to achieve greatness and to leave a lasting mark in the fields of endeavor to which they have been called.

    By keeping in clear sight worthy goals and determining to work assiduously to achieve those goal, any individual can surely succeed and leave “footprints on the sands of time.”   Those “footprints” are found in the histories of those great men and women who achieved their goals and gave to humankind tangible tools. 

    One thinks of such people as the Founding Fathers, who worked tirelessly to bestow on their country a document called the Constitution, which would allow the citizens to live in freedom instead of a monarchy or dictatorship.  Or one might bring to mind Thomas Edison with his inventions such as the light bulb that ordinary life uses on a daily basis. 

    Eighth Stanza:  Setting a Positive Example

    Footprints, that perhaps another,
    Sailing o’er life’s solemn main,
    A forlorn and shipwrecked brother,
    Seeing, shall take heart again.

    The speaker then expands on the idea of a life legacy to all others who may just need a boost to continue marching down their own chosen paths.  One need not aim for fame and renown to leave behind those “footprints.” 

    Whatever good one leaves behind can offer hope and encouragement to others who are struggling.  This notion emphasizes the importance of setting a positive example for others because one can never know who might benefit by learning about or seeing how hard we worked for our own goals.

    Ninth Stanza:  Perfecting a Stalwart Attitude 

    Let us, then, be up and doing,
    With a heart for any fate;
    Still achieving, still pursuing,
    Learn to labor and to wait.

    The speaker concludes his psalm with a solemn call to action. He urges his readers to remain focused on their goals and duties, and to remain resilient in facing adversity.  He wants his fellows to pursue their goal with great determination.

    He also wants humanity to nurture perseverance and patience.  He admonishes and urges his audience to be industrious and resilient, to pursue goals with determination, and to cultivate a stalwart attitude.  Each individual must”Learn to labor and to wait” as they continue to pursue and achieve.

    The Power of Longfellow’s Psalm

    Henry Wadsworth Longfellow’s “A Psalm of Life” remains a powerful musing on the human condition, as it performs its function through a pleasant meter, sophisticated rime-scheme, and motivating calls for action. 

    Longfellow’s psalm is not merely an harangue against mortality; it offers instead a set of instructions for deliberate living, as Henry David Thoreau insisted that we went to Walden’s Pond to learn to “live deliberately.”

    The psalm’s abiding appeal is that it has the ability to inspire readers to rise above despair and lethargy, to act courageously, and to hopefully leave a meaningful legacy of guideposts for coming generations.

    Image: Henry Wadsworth Longfellow   Commemorative Stamp

  • Henry Wadsworth Longfellow’s “Christmas Bells”

    Image: Henry Wadsworth Longfellow

    Henry Wadsworth Longfellow’s “Christmas Bells”

    Henry Wadsworth Longfellow’s” Christmas Bells” is a widely anthologized poem that celebrates the winter holiday.   It features a phrase associated famously with the Christmas season in its chant, “Of peace on earth / Good-will to men.”

    Introduction and Text of “Christmas Bells”

    Henry Wadsworth Longfellow’s “Christmas Bells” is remarkable not only for its tribute to Christmas but also for its commentary regarding the American Civil War, which was in progress at the time the poet composed this poem on Christmas Day 1864.   This poem was published in 1865, and by 1872, it was set to music, becoming a world famous Christmas carol, covered by many singers, including Frank Sinatra.

    The poem plays out in seven cinquains, each with the riming scheme, AABBC.  It repeats the phrase, “peace on earth, good-will to men,” which has become a widely chanted invocation for world peace.

    Christmas Bells

    I heard the bells on Christmas Day
    Their old, familiar carols play,
        And wild and sweet
        The words repeat
    Of peace on earth, good-will to men! 

    And thought how, as the day had come,
    The belfries of all Christendom
        Had rolled along
        The unbroken song
    Of peace on earth, good-will to men! 

    Till ringing, singing on its way,
    The world revolved from night to day,
        A voice, a chime,
        A chant sublime
    Of peace on earth, good-will to men! 

    Then from each black, accursed mouth
    The cannon thundered in the South,
        And with the sound
        The carols drowned
    Of peace on earth, good-will to men! 

    It was as if an earthquake rent
    The hearth-stones of a continent,
        And made forlorn
        The households born
    Of peace on earth, good-will to men! 

    And in despair I bowed my head;
    “There is no peace on earth,” I said;
        “For hate is strong,
        And mocks the song
    Of peace on earth, good-will to men!” 

    Then pealed the bells more loud and deep:
    “God is not dead, nor doth He sleep;
        The Wrong shall fail,
        The Right prevail,
    With peace on earth, good-will to men.”

    Reading with musical accompaniment:  

    Commentary on “Christmas Bells”

    Since its original publication in 1865, the concluding year of the American Civil War, Henry Wadsworth Longfellow’s” Christmas Bells” has enjoyed widespread distribution and attention.  

    The poem’s refrain, “Of peace on earth / Good-will to men,” has served as an appeal for a common goal, uplifting the minds and hearts of all people the world over.  And while the poem’s association with the Christmas holiday is obvious, the sentiment for peace and world-wide goodwill remain regnant throughout the year.

    First Cinquain:  Ringing in Christmas

    I heard the bells on Christmas Day
    Their old, familiar carols play,
        And wild and sweet
        The words repeat
    Of peace on earth, good-will to men!

    The speaker reports that upon hearing the church bells pealing and the singing of carols in celebration of Christ’s birth, he is reminded of the purpose of Christmas celebration of peace and harmony among the world’s citizens.  He avers that the words and sentiment are very well-known to him. 

    He also reports that those words hold a special place in his heart.  The speaker’s tribute thus reveals the nature of the season that had become and still remain one of the most important celebrations of the year, especially in Western culture.

    The line—”Of peace on earth, good-will to men!”—becomes the refrain in this poem that may also serve as a hymn. The refrain allows the poem to function as a chant.  It has been invoked many times in many places for that purpose since its composition in 1863.  

    Those important words have also been employed to remind a warring world of the true goal human endeavor, that peace and harmony are ever more desirable than war and chaos.

    Second Cinquain:  A Reminder of Peace 

    And thought how, as the day had come,
    The belfries of all Christendom
        Had rolled along
        The unbroken song
    Of peace on earth, good-will to men!

    Hearing the bells and the caroling also reminds the speaker of the “unbroken song” of Christ’s birth that is celebrated in all places where Christians and others of a spiritual nature acknowledge and love Jesus Christ.  

    Again, the speaker repeats that all important idea, “Of peace on earth, good-will to men!” The chanted line remains an important feature of this poem for its ability to alter even the speaker’s mood as he continues to describe his reaction to hearing the bells.

    For the speaker, the continuation of the celebration of the birth of Jesus Christ as the savior of humankind has informed his remembrance, even as life has progressed and often descended into the chaos that all of humankind would prefer to avoid. 

    He is writing during the time of war, and thus he desires to achieve peace, but that desire may be contrasted with outward events that hem him round.  As he writes his tribute, motivated by the words of sacredness from the carols, he is reminded of calmness and the nature of life as he would have it.

    Third Cinquain:  Heavenly Sounds 

    Till ringing, singing on its way,
    The world revolved from night to day,
        A voice, a chime,
        A chant sublime
    Of peace on earth, good-will to men!

    The sounding of the bells and voices singing Christmas carols continues throughout the day as the day turns into night.  The speaker describes the sounds he hears as voices and chimes.  He finds those sounds to be heavenly; they remind him of all things sublime.  And the chant he has fashioned again closes the cinquain.

    The simple chanting of an uncomplicated but seemingly unattainable state of earthly tranquility provides the atmosphere in which a mind may rest, if only for a moment.   The necessity of that rest becomes paramount during times of holy day recognition, and the celebration of the birth of Christ offers “Christendom” that opportunity for solemn meditation on the soul.

    The speaker throughout his tribute remains intensely focused on the refrain that is chanted, and the peace and goodwill that he is asserting then become part of a prayer. 
     As he asserts that the words of the carols remind him of sacredness, he yearns to bring about that very situation through concentration on the peace and harmony that such chanting is not only describing but also demanding.

    Fourth Cinquain:  A Moment of Bleak Melancholy

    Then from each black, accursed mouth
    The cannon thundered in the South,
        And with the sound
        The carols drowned
    Of peace on earth, good-will to men! 

    While the speaker is enjoying of the beautiful peeling of the bells and the singing of carols, he enjoyment is suddenly interrupted by a loud, explosive reminder that war is raging.

    Symbolizing the war, cannons are loudly reminding the speaker of the unfortunate events that are being played out, especially in the southern part of his country.  Those likely metaphoric sounds have intruded into the speaker’s consciousness at a time when he is musing on beautiful qualities that should exist, specially at this time of year.  

    The loud cannons that “thunder” become a dark cloud, covering the beauty of the carols that proclaim earthly peace and the lovely fellow feeling that should exist among all citizens.

    This interlude of remembrance of war contrasts greatly with the opening emphasis on beauty, tranquility, along with peace and goodwill.  The stark image of a cannon’s “black, accursed mouth” startles the mind that has heretofore been soothed by the reminders of celebration of spirituality through peace and goodwill.

    Fifth Cinquain:  Peace Broken by War 

    It was as if an earthquake rent
    The hearth-stones of a continent,
        And made forlorn
        The households born
    Of peace on earth, good-will to men! 

    Continuing the contrasting stark interlude of war that has pushed its way into the speaker’s awareness, this stanza then likens the war to a different calamity.  Thus the narrative moves from the cannons of war to the natural phenomenon of an earthquake that breaks up the very ground beneath the feet of the citizens.  

    The households seem to be suddenly stripped of the serenity that should be aglow with the peace and harmony for each family.  This interlude of melancholy and pain, however, still contains the seeds of hope as the cinquain concludes again with the refrain for peace.

    The speaker is aware that too many families have been affected by the war as husbands, wives, sons, daughters, brothers, and sisters have gone off to war to defend what they consider their homeland.  This “earthquake” of war has caused a melancholy atmosphere to fall over the citizenry, but the speaker still continues to chant his prayer of yearning for peace and goodwill.

    Sixth Cinquain:  No Peace—Just Despair and Hatred 

    And in despair I bowed my head;
    “There is no peace on earth,” I said;
        “For hate is strong,
        And mocks the song
    Of peace on earth, good-will to men!” 

    Into the third stanza also comes the painful interlude of melancholy, which continues to serve as a reminder that this poem is being composed during a time of war.  The speaker looks down, bowing his head, feeling desperate for better times. 

    He bemoans the fact that currently peace does not reign over the land.  His country is engaged in a bloody battle for its soul; it is being pulled apart by differences that reflect strong hatred on both sides.  

    Political differences have spoiled the peace that should be spreading over the landscape and into the hearts and minds of the citizenry, instead of the suffering and chaos that war and hatred are bringing.

    Because there is such strong hatred in the world, the song of peace is mocked by the brutality of war, which contrasts so violently with the notion of peace and harmony.  Sadly then, the speaker is experiencing a moment of hopelessness that there is no truth in chanting about peace, love, and goodwill.  

    The contrast between his earlier feeling regarding peace and harmony reflected by his repeated refrain and this painful realization that peace is lacking must have been excruciating for the speaker as he passes through that dark moment brought on by the reality of war raging in his country.

    That the speaker is forced to concede, “There is no peace on earth,” remains a painful reminder of the chaos that hatred brings into the lives all people.  The very hope that peace can be achieved on earth becomes difficult to maintain in the midst of all the pain and suffering caused by the destruction of weapons and brute force against citizens.  

    Seventh Cinquain:  The Return to Faith and Joy 

    Then pealed the bells more loud and deep:
    “God is not dead, nor doth He sleep;
        The Wrong shall fail,
        The Right prevail,
    With peace on earth, good-will to men.”

    Just as suddenly as the melancholy had momentarily overtaken him,  the speaker’s mind fortunately returns to its faith that all will be well.  The bells’ tone now seems to become even deeper and louder, causing the speaker’s musings to be uplifted.

    His heart and mind become filled with the notion that the wrong of the world will be defeated by the right, which will win.  The speaker assures himself that God is in control, and that God never abandons His children.   The sound of the bells continues to peal in the speaker’s consciousness as they deliver his mood from sadness to hope and faith again.

    The speaker then is able to assert with strongest faith, “God is not dead.”  He also asserts with assurance, “nor doth He sleep.”  The speaker’s faith thus returns him to the knowledge that right will overcome wrong because God is still controlling all events.  

    The speaker can thus continue emphasizing the sentiment of his controlling refrain.  He can again with renewed faith place that emphasis on that refrain that had brightened all the preceding stanzas of his discourse.  He can chant again his invocation for peace and goodwill for all his earthly brethren.

    Thus, because of the return of his faith in his deep heart’s core, he can proclaim the repeated truth that God still fills the world’s faithful “With peace on earth, good-will to men.”

  • Angela Manalang Gloria’s “To the Man I Married”

    Image: Angela Manalang Gloria and her husband

    Angela Manalang Gloria’s “To the Man I Married”

    Angela Manalang Gloria’s poem “To the Man I Married” presents an extended metaphor in which the speaker likens her love for her husband to her existential dependence on the earth. 

    Introduction and Text of “To the Man I Married”

    This metaphor functions on both physical and spiritual levels, suggesting that her partner sustains and orients her life in a manner analogous to the natural elements necessary for survival.

    To the Man I Married

    I

    You are my earth and all the earth implies:
    The gravity that ballasts me in space,
    The air I breathe, the land that stills my cries
    For food and shelter against devouring days.

    You are the earth whose orbit marks my way
    And sets my north and south, my east and west,
    You are the final, elemented clay
    The driven heart must turn to for its rest.

    If in your arms that hold me now so near
    I lift my keening thoughts to Helicon
    As trees long rooted to the earth uprear
    Their quickening leaves and flowers to the sun,

    You who are earth, O never doubt that I
    Need you no less because I need the sky!

    II

    I cannot love you with a love
            That outcompares the boundless sea,
    For that were false, as no such love
            And no such ocean can ever be.
    But I can love you with a love
            As finite as the wave that dies
    And dying holds from crest to crest
            The blue of everlasting skies.

    Section I

    The first section of the poem adheres to the formal structure of the English (or Shakespearean) sonnet, consisting of three quatrains and a concluding couplet.

    First Quatrain: The Husband as Life-Sustaining Force

    You are my earth and all the earth implies:
    The gravity that ballasts me in space,
    The air I breathe, the land that stills my cries
    For food and shelter against devouring days.

    The speaker opens with a striking declaration, asserting her husband’s indispensable role in her existence by comparing him to the earth itself. The metaphor extends through a catalogue of essential elements: gravity, air, land, and sustenance. 

    These earthly necessities are paralleled with emotional and material support offered by her husband, suggesting that her survival—both physical and emotional—depends as much on him as it does on the natural world.

    Second Quatrain: He Provides Orientation and Final Rest

    You are the earth whose orbit marks my way
    And sets my north and south, my east and west,
    You are the final, elemented clay
    The driven heart must turn to for its rest.

    The second quatrain deepens the metaphor, portraying the husband as the source of direction and purpose in the speaker’s life. The reference to cardinal directions implies that her sense of order and orientation derives from their shared life. 

    The closing lines evoke mortality and rest, implying that just as the earth will eventually receive her physical body in death, her husband provides emotional and spiritual repose during life.

    Third Quatrain: Acknowledging Other Affections

    If in your arms that hold me now so near
    I lift my keening thoughts to Helicon
    As trees long rooted to the earth uprear
    Their quickening leaves and flowers to the sun,

    Here, the speaker introduces a subtle shift. While affirming her deep attachment to her husband, she also acknowledges her intellectual and spiritual aspirations. 

    The allusion to Helicon, a mountain sacred to the Muses in Greek mythology, evokes poetic inspiration. Her longing for the transcendent does not diminish her love for her husband; rather, it coexists with it, just as rooted trees still reach toward the sun.

    The Couplet: Coexistence of Earthly and Celestial Needs

    You who are earth, O never doubt that I
    Need you no less because I need the sky!

    The final couplet affirms the central thesis of the poem: the speaker’s need for transcendence (symbolized by “the sky”) does not negate her need for the grounding, stabilizing presence of her husband (symbolized by “the earth”). 

    Instead, both are essential, suggesting a balanced view of human experience as encompassing both the corporeal and the aspirational.

    Section II

    The second part of “To the Man I Married” diverges from the sonnet form and appears in two quatrains, adopting a more reflective tone. Here, the speaker qualifies the grand metaphors of the first section with a more tempered, realistic assessment of love.

    First Quatrain: Rejection of Hyperbolic Metaphors

    I cannot love you with a love
    That outcompares the boundless sea,
    For that were false, as no such love
    And no such ocean can ever be.

    In this stanza, the speaker resists the temptation to describe her love through hyperbole. She dismisses the comparison to the “boundless sea” as false, recognizing the limitations of human emotion and language. 

    This moment of self-awareness introduces a more grounded view of romantic love.

    Second Quatrain: Finite Love Reflecting the Infinite

    But I can love you with a love
    As finite as the wave that dies
    And dying holds from crest to crest
    The blue of everlasting skies.

    Although she renounces the oceanic metaphor, the speaker reintroduces the image of water through the wave. Unlike the sea, the wave is finite and mortal, yet it captures and reflects the sky’s infinity. 

    In this subtle turn, Gloria suggests that even within human limitations, love can embody and reflect transcendence.

  • William Butler Yeats’ “The Second Coming”

    Image: William Butler Yeats – Howard Coster – National Portrait Galley, London

    William Butler Yeats’ “The Second Coming”

    William Butler Yeats’ “The Second Coming” remains one of the most widely misunderstood poems of the 20th century. Many scholars and critics have failed to criticize the exaggeration in the first stanza and the absurd metaphor in the second stanza, which render a potentially fine poem a critical failure.

    Introduction with Text of “The Second Coming”

    Poems, in order to communicate, must be as logical as the purpose and content require. For example, if the poet wishes to comment on or criticize an issue, he must adhere to physical facts in his poetic drama. If the poet wishes to emote, equivocate, or demonstrate the chaotic nature of his cosmic thinking, he may legitimately do so without much seeming sense.

    For example, Robert Bly’s lines—”Sometimes a man walks by a pond, and a hand / Reaches out and pulls him in” / / “The pond was lonely, or needed / Calcium, bones would do,”—are ludicrous [1] on every level.   Even if one explicates the speaker’s personifying the pond, the lines remain absurd, at least in part because if a person needs calcium, grabbing the bones of another human being will not take care of that deficiency. 

    The absurdity of a lake needing “calcium” should be abundantly clear on its face.  Nevertheless, the image of the lake grabbing a man may ultimately be accepted as the funny nonsense that it is.   William Butler Yeats’ “The Second Coming” cannot be dismissed so easily; while the Yeats poem does not depict the universe as totally chaotic, it does bemoan that fact that events seem to be leading society to armageddon.

    The absurdity surrounding the metaphor of the “rough beast” in the Yeats poem renders the musing on world events without practical substance.

    The Second Coming

    Turning and turning in the widening gyre   
    The falcon cannot hear the falconer;
    Things fall apart; the centre cannot hold;
    Mere anarchy is loosed upon the world,
    The blood-dimmed tide is loosed, and everywhere   
    The ceremony of innocence is drowned;
    The best lack all conviction, while the worst   
    Are full of passionate intensity. 

    Surely some revelation is at hand;
    Surely the Second Coming is at hand.   
    The Second Coming! Hardly are those words out  
    When a vast image out of Spiritus Mundi
    Troubles my sight: somewhere in sands of the desert   
    A shape with lion body and the head of a man,   
    A gaze blank and pitiless as the sun,   
    Is moving its slow thighs, while all about it   
    Reel shadows of the indignant desert birds.   
    The darkness drops again; but now I know   
    That twenty centuries of stony sleep
    Were vexed to nightmare by a rocking cradle,  
    And what rough beast, its hour come round at last,   
    Slouches towards Bethlehem to be born? 

    Commentary on “The Second Coming”

    William Butler Yeats’ “The Second Coming” remains one of the most widely anthologized poems in world literature.  Yet its hyperbole in the first stanza and ludicrous “rough beast” metaphor in the second stanza result in a blur of unworkable speculation.

    First Stanza: Sorrowful over Chaos

    Turning and turning in the widening gyre   
    The falcon cannot hear the falconer;
    Things fall apart; the centre cannot hold;
    Mere anarchy is loosed upon the world,
    The blood-dimmed tide is loosed, and everywhere   
    The ceremony of innocence is drowned;
    The best lack all conviction, while the worst   
    Are full of passionate intensity. 

    The speaker is sorrowing over the chaos of world events that have left in their wake many dead people.  Clashes of groups of ideologues have wreaked havoc, and much blood shed has smeared the tranquil lives of innocent people who wish to live quiet, productive lives. 

    The speaker likens the seemingly out of control situation of society to a falconer losing control of the falcon as he attempts to tame it.   Everyday life has become chaotic as corrupt governments have spurred revolutions.  Lack of respect for leadership has left a vacuum which is filled with force and violence.

    The overstated claim that “The best lack all conviction, while the worst / Are full of passionate intensity” should have alerted the poet that he needed to rinse out the generic hyperbole in favor of more accuracy on the world stage.  

    Such a blanket, unqualified statement, especially in a poem, lacks the ring of truth:  it simply cannot be true that the “best lack all conviction.”  Surely, some the best still retain some level of conviction, or else improvement could never be expected.  

    It also cannot be true that all the worst are passionate; some of the worst are likely not passionate at all but remain sycophantic, indifferent followers.  Any reader should be wary of such all-inclusive, absolutist statements in both prose and poetry.  

    Anytime a writer subsumes an entirety with the terms “all,” “none,” “everything,” “everyone,” “always,” or “never,” the reader should question the statement for its accuracy.  All too often such terms are signals for stereotypes, which produce the same inaccuracy as groupthink.

    Second Stanza: What Revelation?

    Surely some revelation is at hand;
    Surely the Second Coming is at hand.   
    The Second Coming! Hardly are those words out  
    When a vast image out of Spiritus Mundi
    Troubles my sight: somewhere in sands of the desert   
    A shape with lion body and the head of a man,   
    A gaze blank and pitiless as the sun,   
    Is moving its slow thighs, while all about it   
    Reel shadows of the indignant desert birds.   
    The darkness drops again; but now I know   
    That twenty centuries of stony sleep
    Were vexed to nightmare by a rocking cradle,  
    And what rough beast, its hour come round at last,   
    Slouches towards Bethlehem to be born? 

    The idea of “some revelation” leads the speaker to the mythological second coming of Christ.  So he speculates on what a second coming might entail.  However, instead of “Christ,” the speaker conjures the notion that an Egyptian-Sphinx-like character with ill-intent might arrive instead.  

    Therefore, in place of a second coming of godliness and virtue, as is the purpose of the original second coming, the speaker wonders:  what if the actual second coming will be more like an Anti-Christ?  What if all this chaos of bloodshed and disarray has been brought on by the opposite of Christian virtue?

    Postmodern Absurdity and the “Rough Beast”

    The “rough beast” in Yeats’ “The Second Coming” is an aberration of imagination, not a viable symbol for what Yeats’ speaker thought he was achieving in his critique of culture. If, as the postmodernists contend, there is no order [2] in the universe and nothing really makes any sense anyway, then it becomes perfectly fine to write nonsense. 

    Because this poet is a contemporary of modernism but not postmodernism [3], William Butler Yeats’ poetry and poetics do not quite devolve to the level of postmodern angst that blankets everything with the nonsensical.  Yet, his manifesto titled A Vision is, undoubtedly, one of the contributing factors to that line of meretricious ideology. 

    Hazarding a Guess Can Be Hazardous

    The first stanza of Yeats’ “The Second Coming” begins by metaphorically comparing a falconer losing control of the falcon to nations and governments losing control because of the current world disorder, in which “[t]hings fall apart; the centre cannot hold.” 

    Political factions employ these lines against their opposition during the time in which their opposition is in power, as they spew forth praise for their own order that somehow magically appears with their taking the seat of power.

    The poem has been co-opted by the political class so often that Dorian Lynskey, overviewing the poem in his essay, “‘Things fall apart’: the Apocalyptic Appeal of WB Yeats’s The Second Coming,” writes, “There was apparently no geopolitical drama to which it could not be applied” [4].

    The second stanza dramatizes the speaker’s musing about a revelation that has popped into his head, and he likens that revelation to the second coming of Christ; however, this time the coming, he speculates, may be something much different.  

    The speaker does not know what the second coming will herald, but he does not mind hazarding a dramatic guess about the possibility.   Thus, he guesses that the entity of a new “second coming” would likely be something that resembles the Egyptian sphinx; it would not be the return of the Christ with the return of virtue but perhaps its opposite—vice. 

    The speaker concludes his guess with an allusion to the birth of such an entity as he likens the Blessed Virgin Mother to the “rough beast.”   The Blessèd Virgin Mother, as a newfangled, postmodern creature, will be “slouching toward Bethlehem” because that is the location to which the first coming came.  

    The allusion to “Bethlehem” functions solely as a vague juxtaposition to the phrase “second coming” in hopes that the reader will make the connection that the first coming and the second coming may have something in common.  The speaker speculates that at this very moment wherein the speaker is doing his speculation some “rough beast” might be pregnant with the creature of the “second coming.” 

    And as the time arrives for the creature to be born, the rough beast will go “slouching” towards its lair to give birth to this “second coming” creature: “its hour come round at last” refers to the rough beast being in labor. 

    The Flaw of Yeats’ “The Second Coming” 

    The speaker then poses the nonsensical question: “And what rough beast, its hour come round at last, / Slouches towards Bethlehem to be born?”   In order to make the case that the speaker wishes to make, these last two lines should be restructured in one of two ways: 

    And what rough beast, its hour come round at last,
    Slouches towards Bethlehem to give birth? 

     or

    And what rough beast’s babe, its time come at last,
    Is in transport to Bethlehem to be born?

    An unborn being cannot “slouch” toward a destination.  The pregnant mother of the unborn being can “slouch” toward a destination.   But the speaker is not contemplating the nature of the rough beast’s mother; he is contemplating the nature of the rough beast itself.  

    The speaker does not suggest that the literal Sphinx will travel to Bethlehem. He is merely implying that a Sphinx-like creature might resemble the creature of the second coming.  Once an individual has discounted the return of Jesus the Christ as a literal or even spiritual fact, one might offer personal speculation about just what a second coming would look like. 

    It is doubtful that anyone would argue that the poem is dramatizing a literal birth, rather than a spiritual or metaphorical one.    It is also unreasonable to argue that the speaker of this poem—or Yeats for that matter—thought that the second coming actually referred to the Sphinx.   A ridiculous image develops from the fabrication of the Sphinx moving toward Bethlehem. Yeats was more prudent than that. 

    Exaggerated Importance of Poem

    William Butler Yeats composed a manifesto to display his worldview and poetics titled A Vision, in which he set down certain tenets of his thoughts on poetry, creativity, and world history.   Although seemingly taken quite seriously by some Yeatsian scholars, A Vision is of little value in understanding either meaning in poetry or the meaning of the world, particularly in terms of historical events.  

    An important example of Yeats’ misunderstanding of world cycles is his explanation of the cyclical nature of history, exemplified with what he called “gyres” (pronounced with a hard “g.”)  Two particular points in the Yeatsian explanation demonstrate the fallacy of his thinking:

    1. In his diagram, Yeats set the position of the gyres inaccurately; they should not be intersecting but instead one should rest  one on top of the other:  cycles shrink and enlarge in scope; they do not overlap, as they would have to do if the Yeatsian model were accurate. 

    Image :  Gyres – Inaccurate Configuration from A Vision

    Image:  Gyres –  Accurate Configuration

    2.  In the traditional Second Coming, Christ is figured to come again but as an adult, not as in infant as is implied in Yeats’ poem “The Second Coming.”

    Of great significance in Yeats’ poem is the “rough beast,” apparently the Anti-Christ, who has not been born yet.  And most problematic is that the rough beast is “slouch[ing] towards Bethlehem to be born.”  The question is, how can such a creature be slouching if it has not yet been born?  There is no indication the speaker wishes to attribute this second coming fiasco to the mother of the rough beast.

    This illogical event is never mentioned by critics who seem to accept the slouching as a possible occurrence.  On this score, it seems critics and scholars have lent the poem an unusually wide and encompassing poetic license.

    The Accurate Meaning of the Second Coming

    Paramahansa Yogananda has explained in depth the original, spiritual meaning of the phrase “the second coming”[5] which does not signify the literal coming again of Jesus the Christ, but the spiritual awakening of each individual soul to its Divine Nature through the Christ Consciousness.  

    Paramahansa Yogananda summarizes his two volume work The Second Coming of Christ: The Resurrection of the Christ Within You:

    In titling this work The Second Coming of Christ, I am not referring to a literal return of Jesus to earth . . . 

    A thousand Christs sent to earth would not redeem its people unless they themselves become Christlike by purifying and expanding their individual consciousness to receive therein the second coming of the Christ Consciousness, as was manifested in Jesus . . . 

    Contact with this Consciousness, experienced in the ever new joy of meditation, will be the real second coming of Christ—and it will take place right in the devotee’s own consciousness. (my emphasis added)

    Interestingly, knowledge of the meaning of that phrase “the second coming” as explained by Paramahansa Yogananda renders unnecessary the musings of Yeats’ poem “The Second Coming”and most other speculation about the subject. Still, the poem as an artifact of 20th century thinking remains an important object for study. 

    Sources

    [1]  Linda Sue Grimes.  “Robert Bly’s ‘The Cat in the Kitchen’ and ‘Driving to Town Late to Mail a Letter’.”  Linda’s Literary Home. December 24, 2025. 

    [2]  David Solway.  “The Origins of Postmodernitis.”  PJ Media.  March 25, 2011.  

    [3]  Linda Sue Grimes. “Poetry and Politics under the Influence of Postmodernism.” Linda’s Literary Home.  Accessed December 3, 2025.

    [4]  Dorian Lynsey. “‘Things fall apart’: the Apocalyptic Appeal of WB Yeats’s The Second Coming.” The Guardian.  May 30, 2020.

    [5]  Editors. “The Truth Hidden in the GospelsSelf-Realization Fellowship. Accessed October 27, 2023.

  • Malcolm M. Sedam’s “Man in Motion”

    Malcolm M. Sedam – Book Cover The Man in Motion

    The following sampling of poems are from Mr. Sedam’s second published collection, The Man in Motion.

    1 THE QUICK AND THE DEAD

    As friends of the deceased
    we stood outside the plot
    and spoke of many things;
    I said that I was a teacher
    and it came out he was too,
    somewhere up North, he said,
    a good community — good school,
    no foreigners, Negroes, or Jews
    in fact, he said,
    no prejudice of any kind.

    2 SAINT GEORGE

    He says he has a problem
    and I say:  Tell me about it
    because he’s going to tell me about it anyway
    so it seems he was making love with his wife
                                     last night or thought he was
    when right in the middle of it she stopped
    and remembered he hadn’t put out the trash
                            for the trash man the next morning
    so he asks:  What would you have done?
    and I say:  Get up and put out the trash
                                                 which of course he did
    but he still doesn’t know why
                                                     and I reply:
    You must slay the dragon
    before there is peace in the land.  

    3 FACES

    A funny thing happened in the war
                       and you’ll never believe it
    but there was this Jap Zero
                         at ten o’clock low
    so I rolled up in a bank
    and hauled back on the stick
                                too fast
                       and nearly lost control
    and when I rolled out again
    there was this other Jap
    (He must have been the wingman)
    flying formation with me.

    We flew that way for hours
                        (at least four seconds)
    having nothing else to do
    but stare each other down,
    and then as if by signal
    we both turned hard away
    and hauled ass out of there.

    We flew that way for hours
                          (at least four seconds)
    and when I looked again
                                    he was gone—
    but I can still see that oriental face
                                      right now
                    somewhere In Tokyo
    standing in a bar
    there’s this guy who’s saying:
    a funny thing happened in the war
                           and you’ll never believe it
    but there was this American. . . 

    4 EXPERIENCE

    Then there was that night in Baton Rouge
    Jack and I went out on the town
                     looking
                                               two looking for two
    And we saw these two broads at the bar
                                                           and I said
    There’s two Jack but yours doesn’t look so good
                                                   but he was game
    So we grabbed them and wined them and dined them
                              with champagne and steak
                                                       I remember
                              forty-four bucks to be exact
    And when we walked out of that place
    I slipped my arm around the pretty one
                                                       an whispered
                      let’s go up
    And she said
                    whadaya think you’re gonna do
    And I said
                     not a goddam thing
                                                           and left her flat
    And Jack took the dog-face one home
    And made a two-weeks stand of it
                     and come to think of it
    I never chose a pretty girl after that.

    5 NOSTALGIA

    (For Lee Anne)

    Call it the wish of the wind
                                             flowing
                     from a dream of dawn
    through the never-to-be forgotten
                           spring of our years
                                              running
                            swiftly as a lifetime
                                                  flying
                            like a vision borne
    Slim Indian princess  wedded in motion
                          dark hair streaming
                                      sunlight and freedom
                          floating on the cadence song
                                 drifting shadow-down
                                           in the distance
    my daughter riding bareback
                         on a windy April afternoon.

    6DESAFINADO

    (For Allen Ginsberg, et al)

    Through this state and on to Kansas
    more black than May’s tornadoes
    showering a debris of art —
    I saw you coming long before you came
    in paths of twisted fear and hate
    and dread, uprooted, despising all judgment
                                                    which is not to say
    that the bourgeois should not be judged
    but by whom and by what,
    junkies, queers, and rot
    who sit on their haunches and howl
    that the race should be free for pot
    and horny honesty?
                                                    which I would buy
    if a crisis were ever solved
    in grossness and minor resolve
    but for whom and for what?

    I protest your protest
    its hairy irrelevancy,
    I, who am more anxious than you
                                      more plaintive than you
                                      more confused than you
                                      having more at stake
    an investment in humanity.

    For my commentary on the poem, please visit, “Malcolm M. Sedam’s ‘Desafinado’

    7  JOSEPH

    Some things were never explained
    even to me, and of course
    they would tell it his way
    but I believed in her
    because I chose to believe
    and you may be sure of this:
    A man’s biological role is small
    but a god’s can be no more
    that it was I who was always there
    to feed him, to clothe him
    to teach him, and nurture his growth—
    discount those foolish rumors
    that bred on holy seed
    for truly I say unto you:
    I was the father of Christ.

    For my commentary on this poem, please visit “Malcolm M. Sedam’s ‘Joseph’

    8 TO MOSES AT SINAI

    At least part of your message is clear,
    thou shalt not kill except in certain seasons
    and thou shalt not commit adultery
    except in certain regions
    and thou shalt not lie
    except on incredible things
    like carrying five tons of tablet stones
                                          down mountains.

    9 INDIAN COUNTRY

    Can it be enough to wake in the morning
          to find in a land above all others
                the generosity of spring
                      a summer’s desire
    the sky like a psalm unfolding a season for lovers?

    Stay, do not be afraid
           walking hand in hand with me
                  through the gentle wilderness
                       the glorious heart of it
    I know this country better than I know myself
                                                                             better
    let me share it with you
                       this immortal scene—
    how can you close your eyes?

    10  REGENERATION

    Something in me and the abiding dust
    Loosed an imprisoned force
    And I became a man at the age of twelve
    Proclaiming myself above women
    I decided to be a trapper up North
    But tried the near creek first
    Caught a muskrat that turned me weak
    Cried boys tears then came back strong
    Finding maturity was thirteen
    Growing soft on animals and girls.

    11 FOREVER CALVIN

    Life had seldom been good to him
    and the cloth he had always denied
    but faced with the new theology
    he stood with his beer and replied:
    “People been sayn’ God is dead
                                               but I know
    that old sonofabitch is still alive.”

    12 MYSTIQUE

    My thoughts are on the ring of morning
    my insight beholding the sun—
    I will say she is not beautiful
    or shall I say, no more beautiful
    than the average of her age
                                                an average girl
    in plain blue sleeveless dress
    with soft brown sling-back shoes
    and matching purse
    but for the silver dragonfly . . .
    ah yes!  the silver dragonfly
    as delicate as her slender hands
                                                 her red-gold hair
    her high born face
    or the white lace of her brassiere,
    which brings my focus to the nearer things
    the rainbow from the window
    the warm wet sound of rain
                                              the clear clear air.

    13 CASUALTIES

    Admission of reality
                    that time can bend a memory
                    am I a victim of my own credulity
                                    or did I see the dark blood flow
                                                    from such savagery . . .
                                    unbelievable
                    that I was even there
                    that I remember and forget
                                                     so easily
                       the brain is lensed like that
                                       protects the image
                                       sometimes dims forever
                        unless a matching pattern focuses the scene
                                                        joins two worlds
                                                                             the then and now . . .
                                        and then
                        it was no ordinary war
                        a time some unseen power
                                                       had set the stage for me
                        an unemployed pilot, I happened along
                        a spectator of the invasion
                                                         until the airplanes came—
    Admission . . .
                      they brought the casualties in
                      and laid them on the tables
                                                       of the ship’s wardroom
                      where only hours before
                                                       we ate our peaceful fare
                      no white-clad nurses here, no softer graces
                                                       no operating room decor
                                                                        I would identify
                      but my only experience is a football knee
                      and nothing in the past could conjure this:
                      a casual would brings no trail
                      a shattered arm or leg they amputate
                      of mangled flesh in disarray they sew
                      a captain missing half his face
                                                       the jawbone almost gone
                      what primal instinct saved his life?
                                         they can’t decide
                      he crawled back on his own . . .
                                                                      another
                      with both hands taped down to his arms
                                                      his wrists nearly severed
                       he says his pistol jammed as he was struck
                                                                            a sword—
                                         a more immediate concern
                        he also has a bullet in his chest,
                        they probe the fevered flesh that forms the hole
                                                                             almost lose him
                                                           Shock!
                                          a call for plasma
                         the way that nature saves her own
                         or takes in death if the blood is pooled too long
                                                           the surgeon quietly explains—
    Admission . . .
                      the other details I forget
                      or something doesn’t want me to recall
                      it is only the surgeon who comes through clear to me
                      whose raw exposure captured me
                                                       record the butchery
                                      whose eyes knew me
                       as I stood fascinated by his sight—
                       at three A.M. they bring the last one in
                       his back a confusion of shrapnel and blood
                       but almost perfect pattern of designs
                                                        a gaping hole with radiating lines
                                                                         a mortar shell—
                        his face like the grey dawn precipitates the storm
                        he is barely conscious now moving through another world
                                          perhaps the only peace he’ll ever know—
                        the stoic surgeon stares and then starts in
                                        deadens down with morphine
                                                          with speed to equal skill
                        and then in rare expression, he’s feeling with his hands
                        searching for something
                                                          like fish under a log
                                                                          he has a memory now
                        pulls out a bloody jagged hunk
                        smiles and drops it in the pan I’m holding
                        and for the first time notices me
                        and for the time I’ll do
                                                        a pilot orderly?
                                                                        why not
                                                        incredible
                         but then how callous I’ve become
                         beside, I can perform and I am remarkably calm
                         he knows, sustains my balance
                                          talks of fishing all the while
                                                           until the fragments are found
                                                                           later
                                                                          much later
                          our two worlds match again
                          he sews with a feminine stitch
                                                          hands leading heart
                                          compassionate in his touch
                          Surprisingly the human skin is very tough
                                                                            he says
                                             cuts easily, punches and tears hard
                                                             the consistency of leather
                             remembering how my mother sewed my shoe
                                                                                 way back there
                             he tugs and pulls, but carefully
                                                             the sergeant groans
                                                                             from pain I ask?
                             no, reflex action he explains
                                                            the pain comes later
                                                                            much later
                                              more thread!
                              will he ever get their wounds sewed up?
                              how neat the stitches come
                              a patchwork quilt, a Frankenstein design
                                                                               and finally done
                              his genius shows, he’s made another man
                                                               but what about his kind
                              and if he lives how does he survive?
                              what cursed the learned doctor after time
                                                                                     and after twenty-five years
                              what  monster  roams to haunt the  tortured  mind?
    Admission . . .
                              it is unbelievable the punishment
                                                               the human body can absorb
                              or what the mind can hold
                                             at least for awhile
                                                               until the patterns match
                              the greatest pain comes later . . .
                                                                              much later.

    14 SELF ANALYSIS

    Often I have wondered
    from where I came
    something of motion
    wind and cloud and wing
                                          high unity
    the sky was my medicine dream
    an identity, I suspect . . .
    I never was born at all
    I fell from another world
    was found by a savage tribe
    ran through my Indian youth
    followed rivers and leas
    talked with birds
    climbed ancient trees
    then beholding all things
    I found creativity—
    all my years of learning
                                         have taught me
    only what I knew as a child.

    15 INCONGRUITY

    Theirs is a house, a show place
    of antiseptic rooms marked:
                         His and Hers
    with climb marks on his walls
    and halls that lead to nowhere
                   (they wouldn’t dare)
    and yet they have three daughters
    which their friends assure me
    came naturally.

    16 APRIL

    Then from the winter grief
           and the tree’s last clinging
                   the dead leaf falls
           to be born in time’s intricate weaving
    from the sentient sleep it awakes
           to behold life believing . . .
      and you thought the spring would never come—
    Arise My Love, arise
                   for love has performed a miracle.

    17 HIGH SIERRA

    And try as I would today
    I could not walk that objective distance away
    to write a universal poem
    that symbolized all metaphors of love
                                                   profoundly beautiful
    sensitive to wordways, more sensitive to height
                                    the clearest view
    the path ran always toward the sunlight
    always to you, in lines as free as
    taking you into my arms
    feeling the flow of your warmth
                                           creation smiling upon me. 

    18 JURISPRUDENCE

    Yes, yes, I know the tree belongs to you
    but your mistake was planting to close to the line—
    possession being nine-tenths of the law
    your branches leaning heavily my way,
    I have picked the apple on this side
    and I intend to eat every damned on of them.

    19 MIRRORS

    And now my daughter
    what shall I say to you
    when only yesterday I learned to know
                                                           myself
    I cannot tell just where I end
    where you begin or when it was
    I loved and lost and won
    the perfect picture of my ego —

    I know the cruelty that reprimands
                                                      your nature
                         you feel too much
                         you love too much
                         you give too much
    and I would make you man, like me
                         hardened and warm
                         vulnerable and sound
                         hidden between poems
                                 doubting . . .
                                      believing . . .
    no, it is not so
    I would not rule you and corrupt your beauty,
    you declare in the desperate desire
    an intimate loneliness
    a weakness yet laden with power
    a possible greatness —
    then what shall I say to you?
    you have written me a poem,
    really, it is almost good . . .
    really, too much like me.

    20 ORIGINAL SIN

    And as life must always contemplate death.”

    Now and again in a crowd
    I’ll see that look in someone’s eye
    that searing stare of endless pain
    a desperate longing for the sky . . . 

    a tremor in the sun, a hurried cry —
    “This is Blue Four bailing out!”

    the convoluting sight, a silver streak
    the searing flash, a rolling red-orange flame
    but someone calls:  “He’s clear!  He’s clear!”

    we see him floating free, momentarily safe
    billowing white against the perfect blue
    like an angel removed from evil—

    God’s merciful arrangement?
    the decision was never his
    he is falling into the enemy’s hands
    and the guilt of war goes with him —

    he gathers in his chute, hopelessly alone
    we circle one more time
    but none of us can save him,
    standing on the crest of his years
                                        he waves his last goodbye —
    Paul Williams . . . the loneliest man I ever saw.

    21 CREATION

    I will allow to my plan
    one dream of man’s own choosing
    that he may break his earthly bonds
                                          and exist beyond reason
    and Adam and Eve looked upon each other
    and behold, they were overjoyed!

    22 DOWN TWO AND VULNERABLE

    Whose knees these are I think I know
    her husband’s in the kitchen though
    he will not see me glancing here
    to watch her eyes light up and glow;

    My partner thinks it’s rather queer
    to hear me bidding loud and clear
    between the drinks before the take
    the coldest bridge night of the year;

    She give her head a little shake
    to ask if there is some mistake
    five no-trump bid, their diamonds deep
    and one finesse I cannot make;

    Those knees are lovely warm and sleek
    but I have promises to keep
    and cards to play before I sleep
    and cards to play before I sleep.

    23 UNTOUCHABLES

    If you will ride with me
           in the warm and velvet rain
                      and stay discreetly on your side
    I will write for you
            the most beautiful love poem
                                                         of your life.

    24 THE DEATH OF GOD

    Look at me Father beneath the grime and blood
    a soft-faced boy fading in your sight,
    severed from the power to make the sign
    one arm dangles, the other grasps my side;
    Listen to me Father and hear the red flood
    rain the morning with low moaning
    black whispers marching in armies of shadows
    exposing, exploding the expedient lie,
    the cold thought crawls pain-studded, shouting
    cutting the sacred threads from all tomorrows;

    Time and the sun are staring
    sending gods and heroes to their places;
    while yet I live and slowly shed my robe
    I witness your death as you witness mine.

    25 LETTER

    Before all colors fade
    before you are gone
    I’ll hold to this memory of you,
    I see you in that gown like wine
    two shades of purple pink and purple red
    of passion drawn, deep down
    I wandered weak from want of you
    then knew your warmth and drank my fill
    and filled the caverns of my mind
    and sewed the hills with vineyards fine
    that I each year might touch the spring again —
    when you are gone, and surely you are
    I know it now
    for the words are beginning to come.

    26  FORGOTTEN SPRING

    And I
                         awake
                                                  in the veil of morning
                         from shadow dreams
                                                  unfound
                         unknown
    there is no sight or sound
                         but the rain in the willows
                                                and I have forgotten
    when it was that came in May
                                                   with the scent of spring
                          and a trace of the forest bloom —
    I arise
                          and go to the window
                          and search in the darkness
                                                   to feel the lifeblood
    touching the night with my hands
    recalling the smallest things
                            transformed in rain
                                                   the linden flowers
                            the redbud lane
    and I return
                            and I am young in my shadows
    reflecting a sequined day of warmer years
    when children walked the emerald springs
                              remembering nothing but dreams
                                                        nothing
                                                                                           but sleep
                                                                                                  sleep
    Sleep that come a thousand miles beyond
                             a distant sorrow
    the forest road and garden flowers dissembled
                             torment settled
    the terror of unearthly storms
               from sounding dreams of heartbeats
                              falling
                              falling
                                                                                              asleep
                                                                                              asleep
    and I awake to know not to know
    what lonely river fills the tortured mind
                             a soul’s denial
    why nether light unveils a ghost of time
                             condemns tomorrow
    somewhere the dead is watching
                              exists
                    is calling
    something I have lost has troubled me
                    awakens me
                                   calls me
                                                                                           to sleep
                                                                                                sleep
                    the broken frames of memory close
                                                                                              asleep
                                   open
    and I awake to the black veil of mourning
    painfully conscious of that final hour
                                   and one forgotten scene
    the wringing hands the labored breath
                                   a tension crowded room
    the moral madness of his sight
                               the faded flowers
                                                                                    the dreaded tomb,
    but I am old, have shed my tears —
    sleep!  give me sleep!
    I want no memory of that time
    and avalanche of lifeblood fallen
    drowning in a sea of slime
    the shadow man more child than man
                              was dying . . . dead
                                                          and life removed
                                                                                 is dead
                                                          calls to me to silence
                                                                                         and sleep
                                                                                                 sleep
    sleep that goes a thousand miles beyond
    perpetual dawn
    the spring was morning
    the sun had healing powers
    I stood at the window beside my mother
    and Albert walked along the garden flowers
                               and called:
    come, Marcene, let’s go mushroom hunting.

    27  EDELWEISS

    Then I will tell you about beauty
    it is the miracle revealed on a winter day
    that in a careful moment flowers a barren land
    and leaves tomorrow
    wherein we walk from snowy graves reborn seven times over,
    touch me then for that is beauty
    the only kind I understand
    what matters now is that I remember
    for the longest possible time the longest day
    when beauty is covered with sorrow . . .
    this too shall pass away.

    28 SUMMER PLACE

    Still my awareness can say what happened there —
    there was such a time and such a woman
    there was a river flowing
    a blood so dramatically clear
    there was a windwalk flowering through the trees
    an endless stream of light that marked the year —
    how do I measure your loveliness?
    I see you again like willow wand summer sun
    shining and free and unashamed
    love and the slowly spreading leaves
    care and the greatest gift we claimed —
    calmer then we knew our way
    we gathered life around us like a golden cloak
    and wore it every day.

    29 LONELINESS

    On that October afternoon
    under the maple bordered streets
    the canopy of memory closed every Godly sound
                                                when Billy Lambert died —
    the rainfall felled and crushed red leaves
    bled through bitter wine
    and I drank paralyzed like any man
    too stunned to reason why
    too brave to cry, they said,
    they took my silent grief
    what sixty pounds could give
    as proof like theirs, standing for strength —
    they did not know that I was eleven
                                                           without faith.

    30  FARFALLA

    It seems inevitable now
    that I should find you again
                                  at mid-summer,
    when I came down from the spring
    I walked along in the rain
                                        thinking of you
    your form and being
    as warm and secure
                                       as nature’s cocoon
    knowing that someday soon
    you would arrive with the sun
                                      beautiful and alive.

    31 ALCHEMIST

    From the imagery of the past
    with the metaphorical present
    the match is made
    sometimes obvious
    but more often than not
    a sixth sense tells us
    it is there
    and apparently without reason
    we know because we have tried —
    a poem is not tricked
    not willed into being,
    with or without us
    it comes with a mind of it own
    a substance of rhythm and tone
    base metal some unknown alchemy
    has turned to gold.

    32 FOR REASONS UNKNOWN

    The Board after review of the crash that took the lives of fifty-eight people, has ruled, the probable cause:  a loss of control, for reasons unknown.

    To one who must review the will of impossible gods
    this crash leaves in its wake man’s torn identity
    For Reasons Unknown; the probable cause,
    an altimeter’s difference, an obvious loss of control
    but who can comfort oneself on finding death at this expense;
    here in the residue of grief, a coat, a toy, a case
    the charred remains of lives the lived before the shrouds,
    once with a burning intensity, a chemistry sublime
    now an horrendous blending shattered by time
    For Reasons Unknown;
    only a few hours before when there was hope
    we were intrigued by their heights, sensation of pride and power
    in that moment of brilliance, a soul’s magnificence
    then a wall and a new dimension of mind;
    again we have met in this place, the corridor of death
    where we are no longer strangers to the hard intelligence:
    that the dream is impenetrable for them and for us
    and for them it is all or nothing,
    and if it is nothing . . .
    but then, how foolish is forever,
    For Reasons Unknown, cancel flight fifty-eight.

    33 CONCEPTIONS

    If I were a woman
    I would become great with child
    if only to test my creative power
    to bring a fertilized egg into being
    proof positive that my reproductive prowess exists
                                                 but being a man
    I can still stare at sperm unbelieving
    that there is anything great with me
    having no conception of conception
    I’m disturbed when she asks me:
    “Aren’t you proud to be a father?”
    and I answer yes and no
    no for the biological act, yes after the fact
    I fulfilled my responsibilities
    and earned my right to that
                                               to be called Father?
    no, with no awareness of conception
    I knew only, still felt only the pleasure,
    so I would alter the master plan somewhat —

    a woman should be wired for light and sound
    and at the time conception
    like an exciting pinball machine
    her body would glow and the lights would come on
    and bells would ring and out of her navel
    would pop a card which would say:
    Big  Man with your wondrous sperm
    this time you the the jackpot!
    keep this card and in nine months you can collect.

    34 PHD

    I continued upward
    ignoring signs of the northern sky
    until I crossed the subtle circle
    and arrived at the pole;
    I sat in frozen silence
    reflecting an impotent sun
    and when I left that place
    my direction was necessarily south.

    35 DIVINE RIGHT

    “And God saw every thing that he had made and behold, it was very good.” Genesis 1:31

    All of God’s creatures have purpose
    they say, including me
    and even I may prove it yet
    and even a mosquito proved it once,
    Texas breed, Matagorda brand
    he sat upon my hand
    and sucked my blood, innocently
    without checking my rank
    and mismatched as we were
    he filled too full to fly
    and fluttered fitfully flopping
    like a frog, so heavily wing-loaded
    I smashed him flat
    than sat back on my throne
    and praised my bloody competence.

    36  PATHFINDER

    Two roads diverged in the yellow woods
    And I knowing I could not travel both
                                           impetuously cried:
    To Hell with decisions!
    And struck off through the woods.

    37 BEAUTY AND THE BEAST

    “I thought you were strong for Jenny?”
    “Well you know how she is—
    Wears three coats of makeup,
    Flat chested, legs too short,
    And without contacts—ugh!”

    Which reminded me of the time
    He introduced me to Jenny—
    Lavender eyes, satin skin
    And bosom and legs enough . . . 

    “Oh yes and another thing
    You wouldn’t have guessed:
    We broke up last week.”

    38 DISCOVERY

    Between the first and the last
    there is a part of us that lives
    outside ourselves where we can see
                                           held in life’s rhythm
    our first encounter with immortality,
    no joy specific could cry that pleasure
                                proclaiming what we are
    but if we could tell this tale
    where no one cared to know
    we would live it again
                                  that intimate discovery
                 like Adam and Eve
    we were the first two people.

    39  POEM TO MY FATHER

    On His Seventy-fifth Birthday

    For as a man stands for love—
                                     and now
            after the gift of our friendship
            when I am alone to see myself for what I am,
            how slow was my awakening, and it seemed
            too many years you had passed us by
            but then as I became mature and unafraid
                    they made the bond enduring when we discovered
            we walked the same valley of age and wisdom
            respectfully different, feeling the same imprints
                    hearing the same footfalls
            following the same river to the ultimate sea—
            foreseeing that day of silence
            I need no tears to purify the past:
            this was the gift of the gods
    For as a man stands for love
            there will remain his legacy an everlasting moment
            the memory of the nobility of man.

    40 YOKOHOMMA MISSION

    (After Twenty-fiveYears)

    What the years have taken away
                what I forget to remember
                            and what lasts forever
                 in dreams that burned the imprint on my mind . . . 

    Flying across that lonely shield of space
                the interwoven contrails streak the malevolent sun
                high and clear at twenty thousand feet
                             down a flawless sweep of sky—
    We have formed to protect the second wave of bombers
                 long-barreled B-29s with huge block letter markings
                                                                on their tails
                 three hundred in a massive glare
                 but one that stands out over all
                                                                  the letter R
                                                   Remember
    How they came
               the enemy in swarm
                          like magnificent fireflies
                                        in black and green
                                        with big red suns on their wings
                          confused our aim
                          skywalked our tracers
                          missing four and hitting one
                          he spins away angrier in death then life
                                                                again
                                                   the engines strain
                                       moving upward
                           climbing to regain
                 ah precious altitude
    the run is perfectly aligned—

    We have broken off momentarily
                  giving way to the black flak highway
                                                      blanketing the run
                               the first unfolded far behind
                               the second overled
                               the third more accurate
                                                                   scores
                  a bomber falls away, hesitates then dies
                              rolls over slowly
                                                                   explodes
                              the sky churns with debris
                  another in its death throes
                                 yet another, and another
                                 vectored down the line
                                                                     moving
                                                          moving onward
    Here they cone again!
               scattered, less reckless now
                             they’ll never understand
                             another pass would run our fuel tanks low
               one almost playfully tags along
                            we clobber him impatiently
                                                                move on
                                                      always moving
                                        full throttle
                                        maximum RPM
                                        abuse the trim
                                        damn the machine
                                        always straining
                              always climbing
    The name of the game is survive
                            and some are delivered
                            and some luck out
                            and some are determined to die
                            but what is left of skill is gone . . .
    A Kamikaze!  A mid-air!
                            one of theirs and one of ours
                            a final terrible embrace
                                        falling
                                                     falling away
                                                                 unforgiven
                a cripple falling far behind
                             another going down
                                          another R
                             Remember
                the unbearable emptiness
                            the invisible force of time
                            of sailing, drifting, soaring
                                                     always moving
                            wind driven by some mysterious mind
                            of wheeling, climbing, floating—

    Then suddenly the departure point
                I turn for one last look at life
                transfixed in war’s psychotic stare
                                         the horrifying tower
                the hell we made for a million souls
                 in flames that outlast fire
                 the pinpoint accuracy of this day
                 twenty-five years ago, a quarter of a century
                                           and Yokohomma is still burning.

    41 DIALOGUE INTELLECTUAL

    You call that poetry?
    That was my intention.
    Well it’s not good poetry.
    By whose contention?
    Mine!
    Which makes you a critic?
    Yes, now here’s a good line,
    Whose is it?
    Mine.
    Is it part of a poem?
    No, it’s only a line.
    You could never finish it?
    Yes, that’s true.
    Well add this pseudo intellectual schmaltzy phrase.
    What’s that?
    Up you!

    42 UNDERSTANDINGS

    I had heard these aunts before
    damn their fat Victorian souls
    who gathered in our house
    those poor depression days
    for grand reunions
    with gossip of the years
    and I the slender one
    too young too male to hear
    that day hid behind the door
    and combed their conversation
    for tidbits dear
    for boys too mean to bore
    and in the painful hour
    they took my subject sex
    and tore to bloody shreds
    all acts of manly fire
    of passion and desire
    all aunts but one
    who would become my favorite
                                        in the end
    she said:  “The way I see it girls
                          the way you should
                          it don’t hurt me none
    and seems to do George a power of good.”

    43 REFLECTIONS

    What would I keep for beauty’s sake
    to cherish your presence in me
    not you but the essence of you
    even more than the intimate part of me
                                                              you took with you—
    I smile at your face in the mirror
                                                                  looking at me
    my countenance radiant, taut-muscled
                                                  confident and so sure
    that I am a man, with you
    I, too, am beautiful.

    44 BLOOD ROOT

    Then I becoming I
    considered then the flower
    from winter’s spring where I was I
    who found the trail of God’s creation
    who could hold beauty walking on
                           touching every bloom of nature —
    it took me a long time to grow up
    from winter’s need where I was I
                                                      like love
    it was a wind fragile flower
    and when I pick it
                                              it bled.

    45 GORDON CHRISTOE

    I remember his confident voice
    his high-flying banter
    the sound of his chattering guns
    that echoed his laughter
    then the Samurai came
    and shouted his name
    and Gordon disappeared
    in a black whisper.

    46 DEATH OF A FIGHTER PILOT

    Falling
    through legend and sky
    his vision
    a flaming mirror
    spinning away and away
    all promise of life
    lost
    in the lonely cry:
    I’m going in.

    47 RELATIVITY

    And so you are real
    but how long will you last?
    I have learned not to ask
    playing these god games
    to reconcile the past,
    yes, we’ll make too much of it
    our pleasure and crowded lament
    but why not
    the sands run low
    on dreadful wisdom.

    48 VERTIGO

    The sky was down
    the clouds had closed the chance
    a vast and inlaid sleep
    then magnified the trance,
    so set in power
     I saw the phantom dance
    that sent the brain dials spinning . . .
    abruptly
    the earth cut my remembering
    and I awoke in flames.

    49 NIGHT TRAIN 

    Loneliness and a faraway whistle
                 loneliness stirring the wind
                              loneliness swelling the moonlight
                                            a storm swept song
                                                        callling
                                                        calling
    COMMmmee . . .

    He’s hard out of Glenwood now
    trailing his midnight smoke
    a symphony on steel
    coming from someplace, somewhere
    from places of never before
    from fabulous lands and scenes
                  dreamed in my book of days
                                                        closer
                                                        closer
    He’s rounding the curve downgrade
               on rambling thundering rods
                             pulse like my heartbeat
                                                     pounding
                                                     pounding
                he whistles our crossing now
                his hot steam severs the air

    COMMmmee . . . COMMmmee . . . A WAY e-e-e
    Straight through the town, throttle down
                                                     deafening sound
                                           the summer night made aware
                              screaming upgrade
                              exhaust in staccato rhyme
    telling the world of his climb
    rolling on Arlington now
    high on his whirling wheels
    gaining the crest of the hill
    going to someplace, somewhere
    to fabulous lands and scenes
                 pulse like my heart beat
                                                     calling
                                                     calling
    COMMmmee . . . COMMmmee . . . A WAY e-e-e

    50 SCARLET TANAGER

    I look at him as he looks at me
                                    in sly appraisal
    and I think he must be a discriminating bird
    to choose my woods for his mating show,
    but still I know that recently
    he came North from the land of the Chavante*
    and could it be that he sees in me
    only the image of another stage?

    (*Alternate spelling of Xavante.)    

    51  PARADOX IN DUPLICATE

    I knew that I must laugh
    before they carried me away
    and then
    I was carried away with laughter
    and now
    they have carried me away.

    52 ZIP CODE

    From that red restlessness
    understanding
    they would accept no compromise
    they left
    without a word between.

    53  TIPPECANOE BATTLEFIELD

    Walking
    through legend and tale
    I thought I saw Indians
    charging in feathered lines
    and calm Kentuckians
    gathering war-scalps—
    wandering too far
    I saw Harrison the magnificent
    riding his white stallion and . . .
    the thing I remember most about war
    was its bloody confusion.

    54 MOON GLOW

    So beautifully
    she could express desire —
    we had walked along the woods
    enamored of nature and ourselves;
    the moon grass
    an infinite sky
    the warm repletion
    a cry —
    come, she said,
    the children will be returning.

    55 HARVEST

    You will remember this time
    the love that holds this place
    born from a season of growing
    when we bled into each other
    from long histories
    and found all our futures foretold;

    Now it is clear from our height
    this time is God’s artistic best,
    the sun revolves in a velvet line
    the winnowing need drawn from our childhood —
    Harvest . . .
    when the seek of the human heart
                                                               knows assurance.

    56 HOMECOMING

    No one seemed to know him
    but he impressed us
    as he led the vocabulary parade;
    obviously he was a college man
    suave in dress
    submerged in manners
    and we could se his class ring
    when he picked his big nose.

    57 PERCEPTIVO

    If you’ll remember that day
    we barely met
    and yet I know all about you,
    I listened to your poetry
    but long before that —
    there is something in every woman
    that inevitably gives her away
    and you, my dear, were wearing
    exquisite pink shoes.

    58 HAPPINESS

    The storm cometh, the moment grows pale  —

    nothing in my memory ever dies,
    I remember our search for the sun
    that great straining upward
    formation flying like exotic birds
    spreading our wings on the day,
    and then a sudden flame —
    a terrible calm . . .
    happiness
    like a solitary leaf
    breaks off and falls away.

    59 MARTY

    (Who came without an appointment)

    Softly she came
    with a folder under her arm, clutched tightly
    a countenance between a smile and a frown,
    she could go quickly either way,
    and then she spoke her mind
    in metaphor and rhythm,
    disgressed* in imagery
    that give her mood away
    and finally she told me she wrote poetry
    which I had already discovered
    before ever reading a word.

    *”Disgressed” is an obvious typographical error.  I suggest that the best reading of this line would be “dressed in imagery.” 

    60 ADAM

    For over a week you have appeared in my sleep
    and I find myself seeking you endlessly —
    should I deny what I am, alone and awake
                                                a shadowless man
    tomorrow his glory gone like a season?
    and when you close upon my flesh
    then leave me naked and afraid
    should I deny what you are
                                             the storm of your coming
    and from its center the heart of emptiness
    the blood that cannot touch or give
    until it commands existence?
    I feel at this moment of birth
                                            the death of all things
    but let God speak honestly
    the power was given me to weigh with immortality
    and rather than let this moment pass away
    I will awake and create a poem
                                             which is woman
                                             which is life.

    61 NOVEMBER

    And you my friend
    tell me what you will
    there are some things you will never hold
    not even their innocent birth
                             or trembling growth
                                     or color of life
                                              or last breathing;

    In the bright façade of June
    you have said:  Time has no end
    the sun to command has stood still
    and day and night are one
                                            immortal light
                                            like this summer
    I think I know why
    I hesitate as though I had never known
    the beauty of which you speak
    almost as if your voice could alter distance
                                            conjure love
                            or call creation’s fire
                            which I cannot believe

    When years have hollow eyes
    I marvel I even remember the flight
    the scene of desire removed
    you think I dream what I write
    but think what you will —
    I have seen what winter can do.

    62  GROUND FOG

    Her night’s commitment
    soft and sultry,
    I touched the quintessence
    distilled five times
    fondled the moon
    disguised five times
    filtered the sky
    diffused five times
    and caught her mood . . .
    all this while sitting on my hands.

    63 SILENT TREATMENT

    I would not speak
    as a matter of fact
    I was determined
    not to give in this time
    because I was By God Right!
    and I was,
    I did not speak
    though I did smile
    as I carried her up the stairs.

    64 INTERSTATE 75

    Believing
    and I would believe
    against all possible odds
    against the inroads of roads
    against the factory walls
    against all concrete and steel
    that nature will always be real
    when I can write poetry
    at seventy, driving south
    and trail two lovers through
    the slow warm passage of time.

    65 V J DAY

    Appropriately we were airborne during the lull
                                     flying in our time
             testing out and staying sharp just in case
    when suddenly and literally out of the blue it came
                                         the pronouncement:
                    “Iwo Tower to all planes —
                   it’s all over boys — the War’s over!”
    a stunned long static unbelief
                                     before someone broke the spell —
                    “Yahooo!  Yahooo!”
                                       then everyone turned on
    how many times we yelled I can’t recall
    we firewalled all controls and rocked the sky
                                 in rollicking release
    but then the voice of God himself cut in
                                      the Squadron Commander:
                   “All right you guys let’s knock it off —
                   Remedy Red leader to all flights
                   join up with me over the island
                   and fly the tightest formation of your life.”
    we closed in fast and stacked down on his wing
    locked inside, reset the trim and leveled for the show —
                             he waved
    how beautiful that square and hawk-nosed face
    bright like the Leo sun in terrible relief
               the pain and anxiety gone, drawn dangerously
    close to sentimental words —
    I settled back in throttles and controls
                                     chose my new horizon
           aware of every feeling and desire
    becoming strangely awed by the sight of my hand
             the flesh and blood that was in me
                                    the hope of tomorrow alive
    at last believing that a miracle had really happened
    the War was over, that I was human again.

    66 THEN SUDDENLY

    Then suddenly
           as if I had always known
    I loved you as naturally
                            as breathing.

    67  AND I

    And I
    lifted against the burning
    heart of a woman’s heart
    and I
    drunk with your beauty.

    68  AND LOVE IS 

    And love is that joy of giving
    of finding oneself profoundly acceptable
                   in the sight of another.

    69  REPRIEVE

    On a day that I had chosen to die
    I was stopped by a child
    standing in the doorway.

    70  ETERNITY

    Flying the terraced night
    among the stars death-mirrored —
    is it possible I see the hereafter?

    71  MEMORIAL — TEN DAYS AFTER

    Silence to silence
    these faded geraniums tell me
    that happy people have no history.

    71 ID 111

    Life: Meets hourly, daily
    A non-credit course.

    72  PERFECTION

    Listening to a baby’s laughter —
                  perfection . . .
                                 a short poem.

    73  DISTILLATION REPORT

    God: the neutral spirit
    with which man blends impossible proofs. 

    74  WEATHER REPORT

    Marriage:  that marrow exposure
    a temperature inversion
                              as we grow older.

    Publication Status of The Man in Motion

    As with Between Wars, securing copies of Mr. Sedam’s The Man in Motion requires some research.  Currently, no copies are available on Amazon, but by checking back from time to time, one might become available.