Wednesday, October 24, 2012

My Favorite story... Ichabod!


So far, one of my favorite stories is The Legend of Sleepy Hallow by Washington Irving.   I was visiting my brother in Virginia when I first read it, and I was laughing so much that my siblings asked me to read aloud! We all really enjoyed it together, and that night we even watched the old Disney movie based on the story (the voice actor was even Bing Crosby which made it delightful to listen to! I love his voice).  
I think one of my first, favorite descriptions was that of Ichabod Crane’s physique – especially the parts: “… long arms and legs, hands that dangled a mile out of his sleeves, feet that might have served for shovels”, and “a long snipe nose, so that it looked like a weather-cock, perched upon his spindle neck, to tell which way the wind blew.”
Also when he sang it was “heard half a mile off” and was “said to be legitimately descended from the nose of Ichabod Crane”.  I laughed so hard imagining a nasally voice singing proudly in a church assembly.
Finally was the image brought to mind upon reading: “he rode with short stirrups, which brought his knees nearly up to the pommel of the saddle; his sharp elbows stuck out like grasshoppers’… as his horse jogged on, the motion of his arms was not unlike the flapping of a pair of wings.” Needless to say, seeing it illustrated in the movie was priceless.

http://www.bartleby.com/310/2/2.html
 

Friday, October 19, 2012

Henry Longfellow: Upon Closer Inspection

     Upon first glance, Henry Longfellow's poems seemed rather traditional to the point of being plain.  They're normally  structured in the pretty standard abab format, which I guess he was well-known for.  But also, my immediate impression of them was that their meaning was equally simple: The Slave Singing at Midnight appeared to be merely about a Negro slave; The Day is Done seemed to be a mournful poem about a distressed man; Fire of Driftwood, I thought, was just about a couple talking about their pasts; and finally The Tide Rises, the Tide Falls really only made me think of a guy getting mugged or murdered in some town.  I really didn't understand these poems even after reading them over twice.
     But after studying them and doing a little research on the most complicated of these, I began to see something much deeper going on.  Of course this is the mark of a good poem, but it's hard to appreciate unless one actually attempts to delve into the nature of it. 
     I came to understand that The Slave Singing at Midnight wasn't merely about a Negro slave, but could apply to anyone.  When I found out that Longfellow was a widower of two marriages (losing both wives under very tragic circumstances and being pressured to follow his father's dreams), I began to see what this poem meant for him.  He seemed to feel imprisoned or enslaved himself in a spiritual sense, and because of that, perhaps he appreciated the Negroes captivity more than the average man.  He related this Negro in his poem to the enslaved Israelites in the Bible, and to Paul and Silas' imprisonment in the book of Acts.  He wondered toward the end how the Negro was able to sing the "psalm of David" and be glad, and asked when God would bring this man his freedom as He did for those mentioned in the Bible.  I think this question was more directed at Longfellow's own experiences, but that's only my interpretation.
     I can relate to almost all of his poems, and I feel the emotion emanating from each one of them so strongly that I wish I could write about them all (well, I did in my academic papers, so what I mean is I'd like to discuss it on a more personal level).  But I think my most favorite was Fire of Driftwood.  It reminded me a lot of my most recent relationship that ended exactly as Longfellow recounted itThese are the parts of the poem that struck true:


... We spake of many a vanished scene,
      Of what we once had thought and said,
Of what had been, and might have been,
      And who was changed, and who was dead;

And all that fills the hearts of friends,
      When first they feel, with secret pain,
Their lives thenceforth have separate ends,
      And never can be one again;

The first slight swerving of the heart,
      That words are powerless to express,
And leave it still unsaid in part,
      Or say it in too great excess. 
     ...

And, as their splendor flashed and failed,
      We thought of wrecks upon the main,
Of ships dismasted, that were hailed
      And sent no answer back again.
     ...

Until they made themselves a part
      Of fancies floating through the brain,
The long-lost ventures of the heart,
      That send no answers back again.

O flames that glowed! O hearts that yearned!
      They were indeed too much akin,
The drift-wood fire without that burned,
      The thoughts that burned and glowed within.


I do often reflect on "what might have been" if the relationship had not failed, and I do have what he describes as a "secret pain" that our lives had to have "separate ends / and never can be one again."  The "first swerving" of, in this case his, "heart" was indeed impossible for him to express at first, and then after a long time he did in fact convey his sudden lack of feeling for me "in too great excess".  Still, I feel that much went left "unsaid in part": I'm confused about the whole ordeal, but he won't explain anything, so there is much that can be said but isn't.  And although some "fancies float" through my brain about what could have been, that relationship is a "long-lost venture" and he will receive nothing of me again though I call out to him.   
     Although this may seem very personal or private, Longfellow's poem shows me that it really isn't an uncommon misfortune.  Many can relate to it.  This is why his poem speaks to me so.  And perhaps others can use my more direct presentation to clarify the meaning of this poem for themselves - that is, IF I interpreted it correctly.  This is all according to my perception, and I'm interested to know what it might mean to others.  What do you think?




Longfellow, Henry. Fire of Drift-wood (1848): n.pag. Poetry Foundation. Web. 19 Oct 2012.



---. “The Slave Singing at Midnight.” The Norton Anthology of American Literature. Ed. Nina Baym and Robert Levine. 8th. A. New York: W. W. Norton & Company, 2012. 599-600. Print.
 

Friday, October 12, 2012

Inspired by the transcendentalists

Back Home

A Poem and Photos by Grace E. C.

Representative of My Communion with Nature


The mantle clock ticks and clicks
With unease at the slowness of the day,
And a table – sporting such bumps and nicks –
Waits ‘neath a chopped up garden on display.
With oranges and greens all neatly sliced
And reds and yellows smartly diced
Among their peels and all the skins
Of their sweet opposites and of their kin,
They await the final end.

But from out a breeze pours in
Through the window thrown wide ajar,
To render a fluttering to rampant curtains
That wave and point at an empty jar.

I pull a hat of straw from off the hook
And retrieve a blade from the chopping plate;
Slip on boots of long and beaten look
Even as the clock taps its cogs in eager wait.

The bolt is raised and the door is free
To swing out creaking on its frame,
And the first thing there that the sweet air bring
Is a silky aroma of honeysuckle flame;
It dances o’r the green and dew
And taps my hair and my hat askew…
Lands on my nose almost absently –
Filling my senses with its purity –
And reminding me of spring.

Passing flowering trees all green,
With ballrooms of blossoming sprites;
And further on down the hill past I see
Sparrows twittering and tittering their delight
O’r blackberry bushes, all plump and primp,
‘N squabbling in the branches like silly imps
For the juiciest of all the treasures,
With the greatest joy and such pleasures
That their little breasts can hold.

And, oh, the field of touch-me-nots,
Luminous as the ocean in a hushing breeze!
Gently swaying, almost, I thought,
To the music of their whispering leaves.

But I go on to a bubbling stream
Of polished stones and pebbles smooth,
Where cool water, as soft as cream,
Mirrors from above the heaven’s blue.
Then splish and splash a ring or more
(When once there was none before)
Reveals heads shining pearly green
All croaking with surprise at me
As I walk through and by.

Into the thickest of trees I go
With a soft rustling of leaves and grass,
And the more I look, the more I know
That this is what God means to last:
A world of light that always shines –
A green cathedral that enshrines 
All such beauty and all the life
That the fields and trees are always rife –
And the place that I call home.

A spot ahead, it opens up
Where beams of light spill down!
I step across a log and to the center cut
Through ferns to settle on that ground.

A bath could never be as fine as this
Sunlight holding me in its warm embrace –
Caressing my all in its sunny kiss
And leaving marks upon my face...
And all about are dragonflies
Shining as sapphires in the glade;
And fluttering softly, golden butterflies
Dancing so merrily and unafraid!
And with a soft buzz and a hum
Come the emerald hummingbirds
Into the blossoms to hover there among,
To peep such sweet little words.

After a time I finally rise
To brush away a bit of grass,
Where underneath a humble prize:
A lone white bud as weak as glass.
I stoop and touch this slender stem,
Then take the knife back out again –
Though not to touch its modest face,
But instead the earth around its place –
To remove it root and all.

Back at the house in the kitchen room,
On the table my flowers lay:
The white and tiny fragrant blooms
With all their dirt now washed away.

And with the blade I slice them up
(The roots I lacked before),
And carefully, with but tender love,
Remove the blossoms that they had borne.

Protected, they, in my folded hands,
To bear the flowers from that place,
I reach the door where there I stand
With a thankful smile for their giving grace.
Then spreading wide, my fingers open,
Where shown the white and glorious tokens
That begin to rise and float away,
Into the wind like snow astray –
Back to where they call home.

To turn to seed and plant again
Back in their cathedral home.