MudSong 30: Green fires lit on the soil of the earth

A pine letting loose its pollen. Source. 

 

The Enkindled Spring
—D.H. Lawrence

This spring as it comes bursts up in bonfires green,
Wild puffing of emerald trees, and flame-filled bushes,
Thorn-blossom lifting in wreaths of smoke between
Where the wood fumes up and the watery, flickering rushes.

I am amazed at this spring, this conflagration
Of green fires lit on the soil of the earth, this blaze
Of growing, and sparks that puff in wild gyration,
Faces of people streaming across my gaze.

And I, what fountain of fire am I among
This leaping combustion of spring? My spirit is tossed
About like a shadow buffeted in the throng
Of flames, a shadow that’s gone astray, and is lost.

MudSong 28: Dapple-dawn-drawn

The Windhover
By Gerard Manley Hopkins

To Christ our Lord

I caught this morning morning’s minion, king-

    dom of daylight’s dauphin, dapple-dawn-drawn Falcon, in his riding

    Of the rolling level underneath him steady air, and striding

High there, how he rung upon the rein of a wimpling wing

In his ecstasy! then off, off forth on swing,

    As a skate’s heel sweeps smooth on a bow-bend: the hurl and gliding

    Rebuffed the big wind. My heart in hiding

Stirred for a bird, – the achieve of, the mastery of the thing!

Brute beauty and valour and act, oh, air, pride, plume, here

    Buckle! AND the fire that breaks from thee then, a billion

Times told lovelier, more dangerous, O my chevalier!

   No wonder of it: shéer plód makes plough down sillion

Shine, and blue-bleak embers, ah my dear,

    Fall, gall themselves, and gash gold-vermilion.

American Kestrel: adult female taking flight. © William Jobes, PA, September 2008

MudSong 26: A million roses leap

Many thanks to Flighty’s plot for bringing this photograph–and, of course, the luminescent poem within–to WordPress. Thanks, too, for letting me use it here!

MudSongs 24 & 25: Lush with collision

Birdsong
—Joanie Mackowski

Bustle and caw. Recall the green heat
rising from the new minted earth, granite

and basalt, proto-continents shuffling
and stacking the deck, first shadows flung

from the ultraviolet haze. A fern
uncurls from the swamp, the microscopic furnace

of replication warms the world, one
becoming two, two four: exponential blossom.

Lush with collision, the teacup balance
of x and y, cells like balloons

escaping into the sky—then the dumbstruck
hour, unmoored by a river,

a first fish creeps to the land to marvel
at the monstrous buds of its toes. And stars

grow feet and walk across the years, into these dozing,
ordinary days, climbing the spine’s winding

stair, where crickets yawn and history spins.

 

Still Life with Three Bird’s Nests by Vincent van Gogh (on his 161st birthday).

 

What birds plunge through is not the intimate space
—Rainer Maria Rilke (Translated by Stephen Mitchell)

What birds plunge through is not the intimate space
in which you see all forms intensified.
(Out in the Open, you would be denied
your self, would disappear into that vastness.)

Space reaches from us and construes the world:
to know a tree, in its true element,
throw inner space around it, from that pure
abundance in you. Surround it with restraint.
It has no limits. Not till it is held
in your renouncing is it truly there.

MudSongs 22 & 23: Dear, dark dapple of plush!

 

Two poems by Mary Oliver. 

—

White Owl Flies Into and Out of the Field

Coming down out of the freezing sky
with its depths of light,
like an angel, or a Buddha with wings,
it was beautiful, and accurate,
striking the snow and whatever was there
with a force that left the imprint
of the tips of its wings — five feet apart —
and the grabbing thrust of its feet,
and the indentation of what had been running
through the white valleys of the snow —
and then it rose, gracefully,
and flew back to the frozen marshes
to lurk there, like a little lighthouse,
in the blue shadows —
so I thought:
maybe death isn’t darkness, after all,
but so much light wrapping itself around us —
as soft as feathers —
that we are instantly weary of looking, and looking,
and shut our eyes, not without amazement,
and let ourselves be carried,
as through the translucence of mica,
to the river that is without the least dapple or shadow,
that is nothing but light — scalding, aortal light —
in which we are washed and washed
out of our bones.

 

Source.

 

Little Owl Who Lives in the Orchard

His beak could open a bottle,
and his eyes – when he lifts their soft lids –
go on reading something
just beyond your shoulder –
Blake, maybe,
or the Book of Revelation.

Never mind that he eats only
the black-smocked crickets,
and the dragonflies if they happen
to be out late over the ponds, and of course
the occasional festal mouse.
Never mind that he is only a memo
from the offices of fear –

it’s not size but surge that tells us
when we’re in touch with something real,
and when I hear him in the orchard
fluttering
down the little aluminum
ladder of his scream –
when I see his wings open, like two black ferns,

a flurry of palpitations
as cold as sleet
rackets across the marshlands
of my heart
like a wild spring day.

Somewhere in the universe,
in the gallery of important things,
the babyish owl, ruffled and rakish,
sits on its pedestal.
Dear, dark dapple of plush!
A message, reads the label,
from that mysterious conglomerate:
Oblivion and Co.
The hooked head stares
from its house of dark, feathery lace.
It could be a valentine.

—

Related owlish posts: Snowy Owls: a graceful poem in flight, News & Curiosities, MudSongs Seven & Eight: O, she says.

Mudsong Twenty: Turning into the dreamwork of trees

Why I Need the Birds
—Lisel Mueller

When I hear them call
in the morning, before
I am quite awake,
my bed is already traveling
the daily rainbow,
the arc toward evening;
and the birds, leading
their own discreet lives
of hunger and watchfulness,
are with me all the way,
always a little ahead of me
in the long-practiced manner
of unobtrusive guides.

By the time I arrive at evening,
they have just settled down to rest;
already invisible, they are turning
into the dreamwork of trees;
and all of us together —
myself and the purple finches,
the rusty blackbirds,
the ruby cardinals,
and the white-throated sparrows
with their liquid voices —
ride the dark curve of the earth
toward daylight, which they announce
from their high lookouts
before dawn has quite broken for me.

Source.

MudSong Nineteen: That which comes carefully out of Nowhere

Spring is like a perhaps hand
—E. E. Cummings

III

Spring is like a perhaps hand
(which comes carefully
out of Nowhere)arranging
a window,into which people look(while
people stare
arranging and changing placing
carefully there a strange
thing and a known thing here)and

changing everything carefully

spring is like a perhaps
Hand in a window
(carefully to
and fro moving New and
Old things,while
people stare carefully
moving a perhaps
fraction of flower here placing
an inch of air there)and

without breaking anything.

 

The Snowdrop and The Crocus by Abraham Pether. Follow link to enjoy more amazing botanical illustrations.

MudSong Eighteen: The dark angels

Barn Swallow from The Arm & Hammer and Cow Brand Baking Soda Useful Birds of America.

 

Angels
—R.T. Smith

High in the April barn
the swallows are worshiping
dry straw, the gold motes
ascending, so many
dusty wings. If there is
milk cooling like moonlight
in brimfull tins, if
flies circle in the shadow
of Hereford drool, if sprigs
of henbit and sage cloister
in the corner, the birds
still swirl like the very
essence of vigor. Backlit
to dazzlement by afternoon
sunlight, they embroider
the air. Here in the steeple
beneath the weathercock’s
windblown ache and swing,
the dark angels create
order, the choral rush and
flutter of wings. Their
eyes are smooth as a thumbed
rosary, and where mortals’
bones would channel marrow,
they have only the buoyant
and holy air. Nevertheless,
the blasphemous farm cat
hungry for sacrament slinks
up the ladder’s rungs — his
sepal eyes, thorns for claws,
a rose petal for his pagan
and ravenous tongue.

 

Source.

(In case you didn’t guess I’m trying to catch up on the MudSongs before March’s end!)

MudSong Fifteen: What spring does with cherry trees

LOVE POEM XIV

—Pablo Neruda

Translated by W. S. Merwin

 

 

 

Every day you play with the light of the universe.
Subtle visitor, you arrive in the flower and the water.
You are more than this white head that I hold tightly
as a cluster of fruit, every day, between my hands.

You are like nobody since I love you.
Let me spread you out among yellow garlands.
Who writes your name in letters of smoke among the stars of the south?
Oh let me remember you as you were before you existed.

Suddenly the wind howls and bangs at my shut window.
The sky is a net crammed with shadowy fish.
Here all the winds let go sooner or later, all of them.
The rain takes off her clothes.

The birds go by, fleeing.
The wind. The wind.
I can contend only against the power of men.
The storm whirls dark leaves
and turns loose all the boats that were moored last night to the sky.

You are here. Oh, you do not run away.
You will answer me to the last cry.
Cling to me as though you were frightened.
Even so, at one time a strange shadow ran through your eyes.

Now, now too, little one, you bring me honeysuckle,
and even your breasts smell of it.
While the sad wind goes slaughtering butterflies
I love you, and my happiness bites the plum of your mouth.

How you must have suffered getting accustomed to me,
my savage, solitary soul, my name that sends them all running.
So many times we have seen the morning star burn, kissing our eyes,
and over our heads the gray light unwind in turning fans.

My words rained over you, stroking you.
A long time I have loved the sunned mother-of-pearl of your body.
I go so far as to think that you own the universe.
I will bring you happy flowers from the mountains, bluebells,
dark hazels, and rustic baskets of kisses.

I want
to do with you what spring does with the cherry trees.

MudSong Fourteen: The crocus stirs her lids

 

Part Two: Nature
—Emily Dickinson

 

X

“WHOSE are the little beds,” I asked,
“Which in the valleys lie?”
Some shook their heads, and others smiled,
And no one made reply.

“Perhaps they did not hear,” I said;
“I will inquire again.
Whose are the beds, the tiny beds
So thick upon the plain?”

“’T is daisy in the shortest;
A little farther on,
Nearest the door to wake the first,
Little leontodon.

“’T is iris, sir, and aster,
Anemone and bell,
Batschia in the blanket red,
And chubby daffodil.”

Meanwhile at many cradles
Her busy foot she plied,
Humming the quaintest lullaby
That ever rocked a child.

“Hush! Epigea wakens!
The crocus stirs her lids,
Rhodora’s cheek is crimson,—
She’s dreaming of the woods.”

Then, turning from them, reverent,
“Their bed-time ’t is,” she said;
“The bumble-bees will wake them
When April woods are red.”

 

Crocuses by Eunike Nugroho.

 

Note: I apologize for missing two days of  the poetic mud! I’m chalking it up to hanging out with David Allen Sibley, reading Ursula Hegi, entertaining family, and The Day Job.