‘The Great Forest’ Poem
Written by The Silicon Tribesman. All Rights Reserved, 2022. Repost only with credits.
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Fungus growing freely
Beautiful and purposeful
Multitudes of colors
Each ring represents a stage of
growth
Birch tree,
You'll be known forever
Deep inside in your trunk
the tree rot is healing
We can return to the earth
and the stardust in our bones will
plant seeds
Our yield is unlimited
as we harvest
We can be generous and bountiful
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Evening Poetry, November 20
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The Trees
by Mary Oliver
Do you think of them as decoration?
Think again.
Here are the maples, flashing.
And here are the oaks, holding on all winter
to their dry leaves.
And here are the pines, that will never…
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The shadows have their seasons, too.
The feathery web the budding maples
cast down upon the sullen lawn
bears but a faint relation to
high summer's umbrageous weight […]
And loveliest, because least looked-for,
gray on gray, the stripes
the pearl-white winter sun
hung low beneath the leafless wood
draws out from trunk to trunk across the road
like a stairway that does not rise.
John Updike, “Penumbrae”
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by onroses
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“Do not stand at my grave and weep
I am not there. I do not sleep.
I am a thousand winds that blow.
I am the diamond glints on snow.
I am the sunlight on ripened grain.
I am the gentle autumn rain.
When you awaken in the morning's hush
I am the swift uplifting rush
Of quiet birds in circled flight.
I am the soft stars that shine at night.
Do not stand at my grave and cry;
I am not there. I did not die.”
-Mary Elizabeth Frye
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The Forest
The forest is the town of trees
Where they live quite at their ease,
With their neighbors at their side
Just as we in cities wide.
By Annette Wynne
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a lot of people will think that in a hundred years, all memory and talk of them will be forever erased
but then we write on desks, carve our names into trees, write our heights on doorframes, document our lives in paper, leave little imprints of who we are into our world
and so no
you will not be forgotten forever, because we still find little glimpses of their lives too
a pot buried in what was someone's backyard, handprints far up but oh so little that they could have only reached with help from their family, stone carved into to tell stories of life and myth, bones that show that they were loved because there are fractures that have healed
you will not be forgotten
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NAPOWRIMO24 #2: Come, Come to the Sunset Tree
(dedicated to the album The Sunset Tree by The Mountain Goats.)
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Whilst Alone In The Field
older and wiser,
strong in your stillness; and yet
grace, bend to the breeze.
all that you have seen,
tell me — you are a student.
you are life giver.
teach me to be still.
how to expect nothing, and
embrace everything.
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I like when Monk talks about Trudy. He is truly in love with this woman and his expressions of love are for the small details he noticed about her all throughout their time together.
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so here’s the thing. two truths: everything in the world is poetry and everything in the world is energy. there are two kinds of energy. potential and kinetic. written poetry is kinetic, energy put in motion, always going forward. active, activated, actionable. everything else becomes potential energy, potential poetry. always waiting to be made into art. making it art in and of itself.
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Margaret of Anjou’s visit to Coventry [in 1456], which was part of her dower and that of her son, Edward of Lancaster, was much more elaborate. It essentially reasserted Lancastrian power. The presence of Henry and the infant Edward was recognised in the pageantry. The ceremonial route between the Bablake gate and the commercial centre was short, skirting the area controlled by the cathedral priory, but it made up for its brevity with no fewer than fourteen pageants. Since Coventry had an established cycle of mystery plays, there were presumably enough local resources and experience to mount an impressive display; but one John Wetherby was summoned from Leicester to compose verses and stage the scenes. As at Margaret’s coronation the iconography was elaborate, though it built upon earlier developments.
Starting at Bablake gate, next to the Trinity Guild church of St. Michael, Bablake, the party was welcomed with a Tree of Jesse, set up on the gate itself, with the prophets Isaiah and Jeremiah explaining the symbolism. Outside St. Michael’s church the party was greeted by Edward the Confessor and St. John the Evangelist; and proceeding to Smithford Street, they found on the conduit the four Cardinal Virtues—Righteousness (Justice?), Prudence, Temperance, and Fortitude. In Cross Cheaping wine flowed freely, as in London, and angels stood on the cross, censing Margaret as she passed. Beyond the cross was pitched a series of pageants, each displaying one of the Nine Worthies, who offered to serve Margaret. Finally, the queen was shown a pageant of her patron saint, Margaret, slaying the dragon [which 'turned out to be strictly an intercessor on the queen's behalf', as Helen Maurer points out].
The meanings here are complex and have been variously interpreted. An initial reading of the programme found a message of messianic kingship: the Jesse tree equating royal genealogy with that of Christ had been used at the welcome for Henry VI on his return from Paris in 1432. A more recent, feminist view is that the symbolism is essentially Marian, and to be associated with Margaret both as queen and mother of the heir rather than Henry himself. The theme is shared sovereignty, with Margaret equal to her husband and son. Ideal kingship was symbolised by the presence of Edward the Confessor, but Margaret was the person to whom the speeches were specifically addressed and she, not Henry, was seen as the saviour of the house of Lancaster. This reading tips the balance too far the other way: the tableau of Edward the Confessor and St. John was a direct reference to the legend of the Ring and the Pilgrim, one of Henry III’s favourite stories, which was illustrated in Westminster Abbey, several of his houses, and in manuscript. It symbolised royal largesse, and its message at Coventry would certainly have encompassed the reigning king. Again, the presence of allegorical figures, first used for Henry, seems to acknowledge his presence. Yet, while the message of the Coventry pageants was directed at contemporary events it emphasised Margaret’s motherhood and duties as queen; and it was expressed as a traditional spiritual journey from the Old Testament, via the incarnation represented by the cross, to the final triumph over evil, with the help of the Virgin, allegory, and the Worthies. The only true thematic innovation was the commentary by the prophets.
[...] The messages of the pageants firmly reminded the royal women of their place as mothers and mediators, honoured but subordinate. Yet, if passive, these young women were not without significance. It is clear from the pageantry of 1392 and 1426 in London and 1456 in Coventry that when a crisis needed to be resolved, the queen (or regent’s wife) was accorded extra recognition. Her duty as mediator—or the good aspect of a misdirected man—suddenly became more than a pious wish. At Coventry, Margaret of Anjou was even presented as the rock upon which the monarchy rested. [However,] a crisis had to be sensed in order to provoke such emphasis [...]."
-Nicola Coldstream, "Roles of Women in Late Medieval Civic Pageantry," "Reassessing the Roles of Women as 'Makers' of Medieval Art and Culture"
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Evening Poetry, November 4
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Autumn beech trees, Sefton Park by Tom Pennington is licensed under CC-BY-SA 2.0
Beeches
by David St. John
The forest is its own thanksgiving
Walking a mile or so from the road
Past the lake & ancient post office
I…
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au where karuta are like magical powers
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ugh reading a book of poetry based on really liking a single poem and then the rest is just sort of mid navelgazing with extra space is really depressing for some reason
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