Before I Go

heaven

Before  I  Go

 

Hit me, hurt me, kiss me quick, 
Time is rushing by;
I want to feel both joy and pain, 
To lust, to pant, to sigh. 

To run barefoot in morning dew
To roll in new mown grass
To drench my dreams in churning rain
Let all these come to pass

For when I sigh my final sigh
I want the world to know
I loved the life God gave to me
And await its afterglow. 

 



 

 

 

Advertisements

A Time For Laughing

Laughter

A  Time For  Laughing

 

Laughing lasses, Mirthful maids, 
Giggling girls and Merry misses.

    Life is long, Time for laughing,
    Merry moments, Chat and chaffing

 

Joyful jesters, Blissful belles, 
Fun figures and Fierce Friends.

    Life is here, but Time is passing,
    Let’s have fun, Let’s keep laughing.

 

Jolly japes for Blissful babes, 
Jocund jollies and Dizzy days.

    Let us sing and Let us dance, 
    Life is short, Let’s Time enhance. 

 

Bar-Rose

‘Tell Me’ – A Crown Cinquain

background black branches clouds

Photo by icon0.com on Pexels.com

Crown Cinquain

 

Tell me
Pretty maiden
Where have you been hiding
Lost to me all these many years
Now found

Now found
And full of hope
I am able again
To live in bright expectation
Of joy

Of joy
Of coupled love
Rekindling lost passion
Rebirth for my expiring soul
Time heals

Time heals
The wounds of hurt
Complete again with you
Able again to face my world
In peace

In peace
We start again
The slate now wiped clean
The past dissolved in history
Hope lives

bar-green

 

This poem has been composed in response to Abigail Gronway’s (‘Dark Side Of The Moon’) CPC Challenge published 12/4/19.  I quote: . . .

The Crown Cinquain

Like the Cinq-Cinquain that we studied last week, the Crown Cinquain, or Cinquain Chain, is also made up of a series of exactly five Crapsey Cinquains. So what’s the difference? I’m glad you asked. The distinguishing feature of the Crown Cinquain appears in the two-syllable lines at the beginning and end of each stanza, as they are used to link one stanza to another. This process is called a forming link, a chain, or a corona (hence crown).
To be more specific, the last line of each cinquain is repeated as the first line of the next cinquain.
There is one other slight difference. In the Cinq-Cinquain, the stanza breaks are optional; but in the Crown Cinquain, they are required.

So here in summary, is the Crown Cinquain:

a series of 5 [entire] Crapsey Cinquains, 25 lines total
syllabic count: 2-8-6-4-2 in each stanza
written with breaks between stanzas
rhyme is optional
last line of the previous cinquain repeated as first line of the next cinquain

 

bar-green

The Spring Bonus

depth of field photography of tulip flowers

Photo by Vural Yavas on Pexels.com

The Spring Bonus

You promise a delicious bonus
I wonder what joy that could bring
Perhaps, being a tell-tale romantic,
And allowing conjecture to sing, 
A cruise on a tropical ocean, 
Where mermen and mermaids will bring
Their wisdom, their unceasing love songs, 
To promise delight in the spring.

bar-green 

Spring Lives – A Reverse Cinquain

 

close up photography of yellow flowers

Photo by Jacek Mleczek on Pexels.com

New Life –

Daffodils burst from gracious earth

Golden in their splendour

Spilling their joy

– Spring Lives

 

bar-yellow

 Reverse Cinquain:  Simply a Crapsey Cinquain in which the syllable count appears in reverse order. Adelaide Crapsey’s cinquains utilized a syllable count of 2-4-6-8-2. Therefore, the syllable count of the Reverse Cinquain is 2-8-6-4-2.

Composed in response to Abigail Gronway’s Challenge: at: https://darksideofthemoon583.com/2019/03/08/5-line-poem-challenge-6-reverse-cinquain/

bar-yellow

A Vision Of Love

Do you remember the first time we met? 
A long time ago but hard to forget. 

Still so alive in my memory, 
The feed to my every reverie. 

Do you remember that first ever kiss, 
When soft lips touched in newfound bliss? 

Raw hearts first bled in ecstasy, 
The thrill of our conjoined energy. 

Do  you remember that first night of obsession
Love fully felt, all fervour, all passion

The need for each other at last fulfilled 
The essence of joy in conjunction distilled. 

All those memories now, facing reality,
Time and circumstance have brought finality. 

The last test awaits, giving pause for decision, 
Oh, let it be you who completes the Vision.

 

 

 

Joy In The Wind

Spring Wind-WHB

‘Wind On The Orme’ – Pen & Wash … WHB  2017     © 

 

The Wind In Springtime

As the leaves sway in the gentle breeze
And branches stir with crackling joyous glee,
So the wind sings songs amongst the trees
Displaying its delight in being free.

And as the zealous air disturbs the sea
White horses top the breaking vernal wave;
I’m minded of what Springtime means to me
How for its reappearance we all crave.

As waves furrow their path towards the shore,
And full-sailed yachts are snared and driven along,
I now can celebrate and lust for more, 
And yearn to hear its plangent soughing song.

Here as the fire’s flames leap up to the sky
And buffeted they dance with intense glee,
They spread their warmth as every breath drifts by,
Flickering now in every shadow I see.

Thus do I greet the season’s steady hope,
To pray that all its promises are kept, 
That midst bold Nature’s green kaleidoscope
Only our triumphant tears are wept.

bar-green

‘Return Me To My Youth

Followers of Roland’s Ragbag will know that, on occasion, I enjoy attempting a, for me, unaccustomed poetic form.  I was again encouraged to do so earlier today by a post on Linda Luna’s blog: ‘The Dark Side of the Moon’ .   Please do take a look at her description of the Decastitch and, in particular at her outline of a particular variation of this many-faceted form named the ‘Ravenfly’.  Her blog contains a clear outline of the form, which I quote as follows:

  In summary, the Ravenfly is:

• A decastich (10-line poem) written in 3 stanzas: 2 quatrains and 1 couplet.
• Syllabic count: 8-7-8-7, 8-7-8-7, 10-10
• Rhyme scheme: abab cdcd ee
• Meter is optional

bar-green

Prisma-whb01

RETURN ME TO MY YOUTH

Return me to when I was young 

And life had not yet happened; 

The loves I’ve had, the songs I’ve sung,  

 But now I’m truly saddened, 

For life has bitten me so hard, 

Removing joy and pleasure, 

Leaving my swollen heart so scarred

The pain I cannot measure.

My memories of youth are dear,

The future – still obscure, unclear. 

Prisma-whb04

 

bar-green

A full account of the Decastich and its many different guises can be read on the Poet’s Garret website   (q.v.).

I have posted my above attempt at ‘The Raven’ to the ‘Dark Side Of The Moon’ Challenge.

bar-green

Love and Wisdom

Robert Herrick

Bust portrait of Robert Herrick, 17th century English poet,  from a rare print by W Marshal

 

One of the great love poems in the English language is Robert Herrick’s (1591 – 1674) poem ‘To Sylvia , to Wed’.   The poem was published in 1674 in a collection of Herrick’s poems called ‘Hesperides’.  You will find a transcription of it at:  poets.org   The last line of this extremely short poem is . . .

“No Man can at one time be wise and love.” 

The truth of these words by Herrick have often struck me, and I have been led to compose the following poem to amplify my thoughts on the beauty of the words and the wisdom which they hold . . .

scroll2

Love and Wisdom

Great truth lies here
For love consumes the soul
Drives out the rational
In favour of those headstrong thoughts
Those unconsidered deeds
Which couple love with lust
And joy with pain
Breaching reason
As a burst dam
Floods life’s valleys
As the wildfire strips life’s undergrowth
Devouring what it most values
In the thoughtless rush and swell
Of its inflamed ardour

scroll2

William Blake – ‘On Another’s Sorrow’

William_Blake_(1880)_On_Another's_Sorrow

This poem, in its first published form is by the English poet and painter, William Blake (1757-1827).   Blake was not highly recognised during his lifetime but is now regarded as a leading poet and painter of the Romantic Period.   As an important printmaker, Blake, as he did for many others of his poems, produced the decoration himself.  The poem discusses human and divine understanding and compassion. It was first published in 1789 as the last song in the ‘Songs of Innocence’ section, part of the collection ‘Songs of Innocence and of Experience’.