Famous Poets’ Nature Poetry (9): “The Lake Isle of Innisfree”

Happy Poem-in-Your-Pocket Day! From the Academy of American Poets’ list of 15 poems in the public domain designated for Poem-in-Your-Pocket Day – April 26, 2018 (p. 71), and already one of my long-adored poems, Irish poet W. B. Yeats provides this moment to bask in the glory of great verse from 130 years ago, during National Poetry Month and ever after.


The Lake Isle of Innisfree

by W. B. Yeats

I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made:
Nine bean-rows will I have there, a hive for the honey-bee;
And live alone in the bee-loud glade.

And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight’s all a glimmer, and noon a purple glow,
And evening full of the linnet’s wings.

I will arise and go now, for always night and day
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements grey,
I hear it in the deep heart’s core.

1888

Note: The lake embracing Yeats’ longed-for island is Lough Gill, which straddles Counties Sligo and Leitrim, near the west coast of northwest Ireland. Innisfree, ironically now a well-known tourist spot thanks to Yeats, lies in County Sligo, along the lake’s south side.

My favorite stanza of the three: 1
My favorite line in the stanza: 4
My favorite phrase in line 4:

“bee-loud glade”

which I first shared in the post
Five-Phrase Friday (4): Grammar Compound

What’s in your pocket?

If you liked this poem, you may also enjoy:

Other posts in my series on famous poets’ nature poetry (FPNP):

  1. Famous Poets’ Nature Poetry (1): Sun Spots
  2. Famous Poets’ Nature Poetry (1a): “The Sunlight on the Garden”
  3. Famous Poets’ Nature Poetry (3): Wordsworth’s Daffodils
  4. Famous Poets’ Nature Poetry (5): Of Mice, Men and Rabbie Burns
  5. Famous Poets’ Nature Poetry (6): Hugh MacDiarmid in Scots
  6. Famous Poets’ Nature Poetry (6)–Oh, NOW I Get It!: Hugh MacDiarmid in Scots
  7. Famous Poets’ Nature Poetry (7): Black Legacies
  8. Famous Poets’ Nature Poetry (9): “The Lake Isle of Innisfree”

Five-Phrase Friday (34): Earth Day, Every Day

So did you carry around a poem in your pocket all day yesterday and share it with others? Wonderful! I didn’t, but I did present my own poem for review at my writers group.

For this blog’s “Wild Verses: Bits of Nature Poetry” series last summer, showcasing excerpts of my original work, I shared two bits of the poem “If I Had Known” in the first and the seventh post out of ten.

For Earth Day, enjoy five more lines from “If I Had Known” that focus on the predator-prey relationships of wildlife:

that kills can be as bold as water-cat jaguar

spiking alligator-cousin caiman, skull to brain,

with fangs longer than the face seems to fit, 

and

that fauna form peculiar teams, mixing . . .  

in mutual defense and pack-style attack

copyright C. L. Tangenberg


Here, kitty, kitty . . .

jaguar

Photobucket.com stock image

Five-Phrase Friday (24): Book Menu 2016

Books I most want to read for the first time this year:

  1. Out of Africa by Karen Blixen (Isak Dinesen) – the memoir of a Danish coffee-plantation owner, and sole manager after separation from her husband, in Kenya from 1914-1931; I’ve seen the film starring Meryl Streep and Robert Redford many times and loved it.
  2. Wide Sargasso Sea by Jean Rhys – “a work of strange, scary loveliness,” it is the prequel to Jane Eyre, with spoilers if you haven’t read Charlotte Bronte’s book first, which I have.
  3. Poems New and Collected by Wislawa Szymborska, Clare Cavanagh (translator) – a hypnotic poet. I still have to get my hands on this one, so I’ll use my birthday money.
  4. Wuthering Heights by Emily Bronte – This is a need perhaps as much as a desire.
  5. Let Me Off at the Top!: My Classy Life and Other Musings by Ron Burgundy / Will Ferrell. Hopefully a sufficient counterpoise to all this seriousness. I started the Author’s Note to this one last week, after getting the book from my brother for my birthday. I only got through half a page before I started laughing out loud. People’s names alone are hilarious. Read the summary penned by Ron himself at the above link.

I’d also like to finish all of the books I’ve been reading since last year–Middlemarch by George Eliot, The Narrative of Sojourner Truth; and all of the books I started last year but never returned to–Don Quixote by Cervantes, Catching Fire (The Hunger Games #2) by Suzanne Collins, Emma by Jane Austen, and, yet again, Diana Gabaldon’s novel Outlander. I’m more than half way through the first three, so, like, . . . any day now. We’ll see.

One reason I read so slowly is that I tend to read the classics with pen in hand, especially if it’s a copy I own that I can mark up. I like to communicate literally with books, writing marginalia on them and occasionally responding aloud. Literature lives, and breathes, and speaks. So I talk back.

As a student and teacher of literature, writing, and ideas, I also take notes. That means often re-reading large swaths of text in order to capture key insights, delightful writing, story element details, and other treasures.

I’m not much for pop fiction, so this is the reading life I have. If that means I may not get through much of my Goodreads to-read list, then so be it. I’d rather read thoughtfully, learn things, and savor ideas, images, and language than simply devour millions of words, only to pass them unabsorbed.

But I’ve always been a ruminant scholar; I chew my literary food. Some may find this process (or this metaphor) tedious, if not disgusting. Being partial to reading and writing poetry makes the approach work pretty well for me.

Along with typical time management challenges, I suppose dealing with intermittent brain fog and blurry vision may slow the pace a bit, too.

What kind of reader are you?

 

Five-Phrase (Freaky!) Friday (11): Band Mash-ups

You have now entered the fun house that is Five-Phrase (Freaky!) Friday, Number 11. Proceed with bug eyes and funny bones as we explore the world of shape shifting, mutant hybrids, and murderous intentions–in words and phrases, that is.

Last week, I foretold of a unique linguistic phenomenon exemplified by the word “readaholic.” Like “shopaholic” and “workaholic”–but not like “alcoholic”–this type of word is known as a portmanteau. Pronounced PORT – man – TOE.

French for “(it) carries (the) cloak,” the word portmanteau’s original use was to describe a type of suitcase that opens into two halves. In linguistic terms, a portmanteau is the joining of two words to make a completely new word from only part of each of the original two.

The compound noun, by contrast, contains two words that have remained intact from their original states. An example would be the word “doghouse.” The two words in a standard compound noun are like buddies joined at the hip, whereas a portmanteau is that set of conjoined twins who share vital organs. Freaky. . . .

Designer dog breeds are a place where we often see this happen: Labradoodle (Labrador + poodle) and puggle (pug + beagle), for instance. Although not conjoined twins, designer dogs are genuine animal hybrids, assuming they come from a reputable breeder.

The Internet, cell phones, and social networking have spawned other creatures such as sexting (sex + texting) and, of course, blog (web + log) and vlog (video + log).

Food-related examples of portmanteaus further illustrate this melding effect:

cheeseburger = cheese + hamburger

spork = spoon + fork

the kids’ breakfast cereal (Count) Chocula = chocolate + Dracula

zombilicious = zombie + delicious

A portmanteau can be a delightful outcome of linguistic invention and creative word play–or a source of great annoyance to language purists, and confusing to people just trying to keep up with regular English.

So that’s the world of portmanteaus in a . . . suitcase.

Now, for our feature freak show, . . .

This week’s five phrases are gerund-based names of music bands with a Halloween feel. Each band name’s first word is a gerund (pron. JAIR – und), an -ing ending verb form that acts as a noun, specifically an action:

Counting Crows

Flogging Molly

(The) Smashing Pumpkins *

Stabbing Westward

Talking Heads

What are some other gerund-y band names you’re familiar with?

Can you think of movie, TV show, book, or song titles that begin with or contain gerunds?

Beware of the overuse of gerunds (a habit of mine), running into vampire worlds, butterfly-winged bullets, Mr. Jones’ strange luggage, sharp cutlery, jack-o’-lantern vandals, devilish dance floors, psycho killers, weapon-toting trick-or-treaters, green knights, headless horsemen, portmanteau experiments gone awry, bad music, and bad grammar–but not witches; witches are okay–while you have a . . .

. . . Happy Halloween!

Protect the great pumpkins and phrases.

And I’ll see you in November–National Novel Writing Month!


  • Number 3 has been known as both “The Smashing Pumpkins” and “Smashing Pumpkins.” When presented along with the article “the,” the word “smashing” becomes an adjective modifying the noun “pumpkins.” As in, they were a “smashing success,” which they were.

Famous Poets’ Nature Poetry (2): Elizabeth Bishop

American poet Elizabeth Bishop (1911-1979) is one of my favorites of all time, and “The Fish” is one of my favorite poems of hers (not solely for its topic, mind you).

For my 100th post on this blog, samples of lines from “The Fish” and from her longer poem “The Moose” follow. Other great Bishop poems include, among others, “One Art” and “Filling Station.” I mentioned the latter here on Poem-in-Your-Pocket Day, 2014.

Excerpts from “The Fish” by Elizabeth Bishop, published in 1946:

He didn't fight. 
He hadn't fought at all. 
He hung a grunting weight,
battered and venerable
and homely. (lines 5-9)

I thought of the course white flesh
packed in like feathers,
the big bones and the little bones,
the dramatic reds and blacks
of his shiny entrails,
and the pink swim-bladder
like a big peony. (lines 27-33)

I looked into his eyes 
which were far larger than mine
but shallower, and yellowed, 
the irises backed and packed
with tarnished tinfoil
seen through the lenses
of old scratched isinglass.
They shifted a little, but not
to return my stare.
--It was more like the tipping
of an object toward the light. (lines 34-44)

the turning point:

. . . from his lower lip 
--if you could call it a lip--
grim, wet, and weaponlike,
hung five old pieces of fish-line, . . . . 
Like medals with their ribbons
frayed and wavering,
a five-haired beard of wisdom
trailing from his aching jaw. . . . (lines 48-51, 61-64)

To take in more great descriptive details and find out what happens with the fish, see the whole poem.

Set in New Brunswick, Canada, here is an excerpt (lines 1-26) from “The Moose” by Elizabeth Bishop, published in 1976, thirty years after “The Fish” and three years before her passing:

From narrow provinces
of fish and bread and tea,
home of the long tides
where the bay leaves the sea
twice a day and takes
the herrings long rides, 

where if the river
enters or retreats
in a wall of brown foam
depends on if it meets
the bay coming in,
the bay not at home;

where, silted red,
sometimes the sun sets
facing a red sea,
and others, veins the flats' 
lavender, rich mud
in burning rivulets; 

on red, gravelly roads,
down rows of sugar maples,
past clapboard farmhouses
and neat, clapboard churches,
bleached, ridged as clamshells,
past twin silver birches,

through late afternoon
a bus journeys west, . . . .

When my college poetry professor first introduced us to Elizabeth Bishop, she said “The Moose” was widely agreed upon as the definitive example of her best poetry. Obviously, I like it very much, too. Now that I’ve gotten you started, you have less of an excuse not to read the rest of this beautiful poem. And, yes, the travellers do encounter a moose.

At least one comprehensive collection of Bishop’s complete poems is available on Amazon.com.

Check out the next featured poem and poet in the series, the daffodils of Wordsworth.


And ICYMI: The official start of this nature verse series consists of two posts exploring the theme of sunshine: Famous Poets’ Nature Poems (1): Sun Spots, featuring four different poets’ work, and Famous Poets’ Nature Poems (1a): “The Sunlight on the Garden,” with part of a poem by Louis MacNeice.

However, the seed for the series comes from the post Nature Poetry by Famous Poets, which features a few lines from a poem by Thomas Hardy, links to the entire series of famous nature poetry, and a list of all my posts related to birds.

A Celebration of Irish Women Poets on Bloomsday 2015

My favorite poems in this grouping from June 15 are Elaine Feeney‘s “Bog Fairies,” Shirley McClure‘s “Mastectomy,” Jessica Traynor‘s “Pearls at Blackfriars,” and Breda Wall Ryan‘s “Becoming the Ancestor at Downpatrick Head,” in that order. Thanks go to Christine-Elizabeth Murray at Poethead for featuring them, along with poems by Rita Ann Higgins and Celeste Augé.

Poethead

PEARLS AT BLACKFRIARS
 
For his Winter’s Tale,
Master Shakespeare calls
for a covered stage
with the scent of candle-grease
and orange-peel heavy on the air.
 
There must be torches
to give movement to shadows
and life to the statue;
and for Hermione’s face –
tincture of pearl, crushed.
 
With this bowl of dust
we’ll lacquer her age,
encase her in memory
so only a movement of the mind
might release her,
 
might absolve
her husband’s transgression,
as the jealous moon
flings her light
against Blackfriars slates.
 
Pearls At Blackfriars is © Jessica Traynor
Jessica TraynorJessica Traynor is from Dublin. Her first collection, Liffey Swim, was published by Dedalus Press in 2014. Poems have appeared or are forthcoming in Poetry Ireland Review, The Raving Beauties Anthology (Bloodaxe), Other Countries: Contemporary Poets Rewiring History, If Ever You Go (2014 Dublin One City One Book), The Irish Times…

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Thoughts on “How to be a Confident Writer . . .”

Weekend Edition – How to be a Confident Writer Plus Writing Tips and Good Reads.

“The trick is to metabolize pain as energy. Learn, when hit by loss, to ask the right question: ‘What next?’ instead of ‘Why me?”  — Julia Cameron, The Artist’s Way: A Spiritual Path to Higher Creativity

I agree with most of the major points in the main post linked above on the confidence/vulnerability topic, including the embedded, sampled responses. In fact, I found myself at each turn nodding and thinking, “Just like Julia Cameron says in The Artist’s Way.” Many of these themes and issues arise frequently in the book. **

The one thing I disagree with, and side with Cameron about, is the notion that we are our own best judges. While it is true that during the creation process it is best to eschew judgment (especially of ourselves) altogether, once the art has been created and it’s time to assess and edit, others’ opinions are often helpful and sometimes indispensable.

“All too often, it is audacity and not talent that moves an artist to center stage.” — Julia Cameron

Julia Cameron effectively says, Repeat after me, “My job is to create, not to judge.” This mindset frees us to express ourselves in flow without expectation, and it reminds us that there are enough critics among potential readers out there–our own misgivings need not apply.

At the same time, it is part of a writer’s job not to avoid judgement but to seek the wisest, most trusted sources of beta readers for objective, constructive feedback and counsel. Although this step can be scary even with trusted readers, it’s better than to resign ourselves solely to subjective self-flagellation by our internal committee of unreliable critics.

“Always remember that your Censor’s negative opinions are not the truth.”  — Julia Cameron

In other words, each phase has its useful function and purpose (creation, critique, and self-critique), and we need not fear going through all the phases, as long as the input is positive and helps us move forward with our writing and, thus, our confidence. Cameron equally encourages artists to shield themselves against negativity in general and disparaging reviews in particular.

“Progress, not perfection, is what we should be asking of ourselves.”  — Julia Cameron

Ultimately, art is meant to communicate, which requires an interface and exchange between writer and reader, speaker and listener, image and viewer. Not everyone on the receiving end will be nice to the provider, but very few will be intentionally mean or corrosive. Artistic expression requires a little trust and a little faith in people, not to mention courage, if it is to be shared confidently.

“Leap, and the net will appear.”  — Julia Cameron

Avoiding all external judgement, a course that may seem blissful and safe, is not the path to unshakable confidence. It is a fool’s errand to make art while simultaneously expecting to publish and preparing to ignore responses to what we make. We only retard our development by insisting on operating in a vacuum.

Artistic growth occurs in conversation with other art and artists–which is increasingly true in the blogging and social networking age–whatever forms the art and the conversations may take. The dual gift is that we cannot help but improve as people while we improve as artists.

We can always learn from each other, even through the challenging moments. When we remain open with a balanced, sensible approach to engagement, artistic fortitude can be mutually and self-reinforcing. From there, we only get better.

Bon courage!

“No matter what your age or your life path, whether making art is your career or your hobby or your dream, it is not too late or too egotistical or too selfish or too silly to work on your creativity.”  — Julia Cameron, The Artist’s Way: A Spiritual Path to Higher Creativity


** Seriously, if you are a budding (or veteran but jaded) creative type with low or wavering self-esteem, you should probably give The Artist’s Way program a try. Applied as intended, it is therapy that liberates mind and spirit and a system that fuels inspiration and creativity.


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