A Dog Has Died – Pablo Neruda

A Dog Has Died

My dog has died.
I buried him in the garden
next to a rusted old machine.
Some day I'll join him right there,
but now he's gone with his shaggy coat,
his bad manners and his cold nose,
and I, the materialist, who never believed
in any promised heaven in the sky
for any human being,
I believe in a heaven I'll never enter.
Yes, I believe in a heaven for all dogdom
where my dog waits for my arrival
waving his fan-like tail in friendship.
Ai, I'll not speak of sadness here on earth,
of having lost a companion
who was never servile.
His friendship for me, like that of a porcupine
withholding its authority,
was the friendship of a star, aloof,
with no more intimacy than was called for,
with no exaggerations:
he never climbed all over my clothes
filling me full of his hair or his mange,
he never rubbed up against my knee
like other dogs obsessed with sex.
No, my dog used to gaze at me,
paying me the attention I need,
the attention required
to make a vain person like me understand
that, being a dog, he was wasting time,
but, with those eyes so much purer than mine,
he'd keep on gazing at me
with a look that reserved for me alone
all his sweet and shaggy life,
always near me, never troubling me,
and asking nothing.
Ai, how many times have I envied his tail
as we walked together on the shores of the sea
in the lonely winter of Isla Negra
where the wintering birds filled the sky
and my hairy dog was jumping about
full of the voltage of the sea's movement:
my wandering dog, sniffing away
with his golden tail held high,
face to face with the ocean's spray.
Joyful, joyful, joyful,
as only dogs know how to be happy
with only the autonomy
of their shameless spirit.
There are no good-byes for my dog who has died,
and we don't now and never did lie to each other.

So now he's gone and I buried him,
and that's all there is to it.

Pablo Neruda (1904 - 1973)

This is Neruda’s pet dog and the first thing to notice is that there is no naming of the dog other than dog.
The emphasis is on the fact that he is Dog.

S1 … A straightforward statement that the dog has died and been buried.

S2 … Neruda will have similar fate. He reflects on the attributes that are commonly associated with a dog. Looking at the negative side of dog. Although Neruda has no believe in heaven his dog will be there and waiting for him in Dog Heaven.

S3 … his dog was not a close dog … rather distant like a star … there was no intimacy of touch that is common with a dog as pet

S4 … it looks as though the Dog gazes at the pathetic creature that is Neruda … he is there out of duty but what a waste of dog time … never troubles his owner

S5 … and when Neruda takes dog for a walk along the coast at Isla Negro (at the cottage in Chile where Neruda lived), Neruda is jealous at the natural happy full of life spirit that Dog shows on the walk … and I love the line full of the voltage of the sea’s movement … perhaps Neruda, in contrast is depressed, the poem was written near the end of his life.

S6 … no goodbyes necessary, a honest relationship

S7 … In line with the first stanza the Dog is buried and gone and that’s the end. As though a full stop on grief. I think he loved his dog very much despite wallowing in self-pity and using such a degrading tone.

This is certainly a different poem than one usually associates with Neruda. Most people would associate Neruda with his famous love sonnets.

Prayer – Carol Ann Duffy

Prayer

Some days, although we cannot pray, a prayer
utters itself. So, a woman will lift
her head from the sieve of her hands and stare
at the minims sung by a tree, a sudden gift.

Some nights, although we are faithless, the truth
enters our hearts, that small familiar pain;
then a man will stand stock-still, hearing his youth
in the distant Latin chanting of a train.

Pray for us now. Grade 1 piano scales
console the lodger looking out across
a Midlands town. Then dusk, and someone calls
a child's name as though they named their loss.

Darkness outside. Inside, the radio's prayer —
Rockall. Malin. Dogger. Finisterre.
Carol Ann Duffy (1955 -

S1 …
Sometimes quite unexpected we are caught with a sudden beautiful impulse from nature and we are completely overwhelmed and stop what we are doing in appreciation. The woman is unaware who is giving her this song. She uses her hands as she looks up into the tree, so maybe needing protection from the sun. The tree or the birds in the tree have arrested her attention.

S2 …
The rolling motion of a train is likened to chanting as it moves along the track in the distance. It looks like this is happening as the man reflects on something from his youth. And he is now confronting the truth of what happened. It appears heart wrenching and painful to recall. A train may be involved. It has arrested his attention and like the first stanza it could be likened to a prayer.

S3 …
The lodger is in his room while a child in the house is playing the piano. It is dusk a fitting time for grief as the lodger looks out of his window and reflects on a loss maybe a child in his family who played when he was a parent. The calling of the name  and the recalling of a name in the experience of grief perhaps.

S4 …
The mentioning of the fishing forecast reminds me of my youth when this was familiar when listening to the radio. And prayers abound from the many that are listening and thinking of those out at sea. Prayers emanating from inside the warm of homes to the dark foreboding ships at sea.

All these gifts from everyday life are likened to prayer.

Providence springs to mind, if one believes in a spiritual force taking care of us on an individual basis. A very comforting thought when we are depressed and nobody seems to care for us.

A detailed analysis is on this Site – “Prayer,” by Carol Ann Duffy (saltproject.org)   The following notes are taken from this link …

1 … Minims  are half-notes written on a page of musical notation.

2 … And BBC Radio has long broadcast the “Shipping Forecast” for the various seas around the British Isles, waters divided into 31 sea areas, including Rockall, Malin, Dogger, and Finisterre. These regular broadcasts, especially the ones late at night, are for many Britons a deeply familiar touchstone: the announcer’s voice methodically reciting the sea areas all around the islands, one by one, forecasting the weather.

3 … “Finisterre” (pronounced “FIN-iss-tair,” rhymes with “BIN-kiss-fair”) literally means “end of the world”; the sea area’s name was recently changed to “FitztRoy,” but many Britons (such as the poet Duffy herself) grew up hearing the older name “Finisterre” repeatedly intoned on BBC Radio…

Cape Finisterre is a rock-bound peninsula on the west coast of GaliciaSpain.
In Roman times it was believed to be the end of the known world. The name Finisterre, like that of Finistère in France, derives from the Latin finis terrae, meaning “end of the earth”.

Love Dogs – Rumi

Love Dogs

One night a man was crying,
“Allah, Allah!”
His lips grew sweet with the praising,
until a cynic said,
“So! I have heard you
calling out, but have you ever
gotten any response?”
The man had no answer for that.
He quit praying and fell into a confused sleep.
He dreamed he saw Khidr, the guide of souls,
in a thick, green foliage,
“Why did you stop praising?”
“Because I’ve never heard anything back.”
“This longing you express
is the return message.”
The grief you cry out from
draws you toward union.
Your pure sadness that wants help
is the secret cup.
Listen to the moan of a dog for its master.
That whining is the connection.
There are love dogs no one knows the names of.
Give your life to be one of them.

Rumi (30 September 1207 – 17 December 1273)

He stopped praying because he never heard anything back. He states that he has never had a response in his life. I wonder why he is praising God at the start of the poem. If in fact he is giving thanks to God then he has at one time received a response. I personally think prayer should always start with a thank you rather than an ask.

This Rumi poem poses numerous personal questions … Does God respond to prayer? Could it be that the longing itself is the connection – the more the longing the more the connection like a dog in grief? What is God’s response to personal prayer? Is our prayer based on selfish desire – what we want. Is a non-response an appropriate response? How does providence provide an answer to prayer? And is God’s response internally within us all the time – the God within?

From Wikipedia … Rumi was a 13th-century Persian poet, Hanafi faqih (jurist), 
Islamic scholarMaturidi theologian (mutakallim), and Sufi mystic originally from Greater Khorasan in Greater Iran.

The eternal language of words …

The eternal language of words … after a recent visit to the Ancient Egypt Discovery Exhibition in Canberra at the National Museum of Australia showing exhibits from the Dutch National Museum of Antiquities (Rijksmuseum van Oudheden) …

… the importance of words … unknown by those who created them centuries ago … leaving words behind … they didn’t know that their words would have significance … the past defined by the written language of the day … and the language of the past influencing the progression of on-going life … telling its story of the life of the day …  and wisdom and knowledge filtered forever flowing forward … in the beginning was the word and the word is life eternal

 … what equivalent eternal Shakespeare words that crease the pages of today will be of similar significance to future generations?

The foyer of the National Museum of Australia

Ancient Egyptian letters being investigated

And looking at some ancient Egyptian love poems – https://mywordinyourear.com/2021/11/07/ancient-egyptian-love-poems-john-l-foster-translator/

Anointing Ann Anonymous – leaving words

Anointing Ann Anonymous
when she was a child
and she was quite sure
that no one was looking
she picked up a stick
to scratch in concrete
‘I was here’
each day
as she walked to school
she would see her work
and laugh to herself
no one would know it was her
in her teenager years
she had that teenage crush
and melting against his name
cleared the dust on his car
with words that only she could write
‘I love you’
She thought he really knew
but she would never tell,
in later years
when thinking about him
she would laugh inside
with a little embarrassment
she had a long and ordinary life
a husband, children
and memories to drown
and if she could paint the sky
these would be her words
‘life is beautiful’
before she died
and with a knowing smile
she left these words
especially for you …

‘I was here
       I love you
       life is beautiful’
© Ann Anonymous

The following poem was included in a Yass Valley Writers anthology … Voices From the Valley.

I wanted to honour those that are not writers and have no prominent life in connection with using words, hence the title. Choice words are usually expressed by everybody at various critical times in the progression of life.

It does allude to consider what important words have been part of your life. And generally, if indeed words are important to you, what words would you like to leave behind? And what words do you think others remember you by. I still hear words my parents frequently used when I was growing up. And friends are often known by certain words they repeatedly use. To use the current vernacular enjoy your life today!



A Room of One’s Own – Virginia Woolf

A Room of One’s Own is an extended essay by Virginia Woolf, first published in September 1929. The work is based on two lectures Woolf delivered in October 1928 at Newnham College and Girton College, women’s colleges at the University of Cambridge. It is an emphatic statement on emancipation and empowerment of women. And it clearly articulates the personal restrictions of being a woman in the life of Virginia Woolf. If you want to see the improvement that has been made in recognition of women compare the restrictive time of the early twentieth century in England.

But I was interested to see what she had to say about books and writing. And in particular how such written expression has the ability to enhance reality in the sharing of human experience. The following is an extract from her essay encouraging women to write.

There runs through these comments and discursions the conviction—or is it the instinct? — that good. books are desirable and that good writers, even if they show every variety of human depravity, are still good human beings. Thus when I ask you to write more books I am urging you to do what will be for your good and for the good of the world at large. How to justify this instinct or belief I do not know, for philosophic words, if one has not been educated at a university, are apt to play one false. What is meant by 'reality'? It would seem to be something very erratic, very undependable—now to be found in a dusty road, now in a scrap of newspaper in the street, now a daffodil in the sun. It lights up a group in a room and stamps some casual saying. It overwhelms one walking home beneath the stars and makes the silent world more real than the world of speech—and then there it is again in an omnibus in the uproar of Piccadilly. Sometimes, too, it seems to dwell in shapes too far away for us to discern what their nature is. But whatever it touches, it fixes and makes permanent. That is what remains over when the skin of the day has been cast into the hedge; that is what is left of past time and of our loves and hates. 

Now the writer, as I think, has the chance to live more than other people in the presence of this reality. It is his business to find it and collect it and communicate it to the rest of us. So at least I infer from reading Lear or Emma or La Recherche du Temps Perdu. For the reading of these books seems to perform a curious couching operation on the senses; one sees more intensely afterwards; the world seems bared of its covering and given an intense life. Those are the enviable people who live at enmity with unreality; and those are the pitiable who are knocked on the head by the thing done without knowing or caring. So that when I ask you to earn money and have a room of your own, I am asking you to live in the presence of reality, an invigorating life, it would appear, whether one can impart it or not.

What would life be like if we didn’t have books and written words in general to surround us and give us meaning. No matter in what form a person writes and whether or not the legacy of work deemed as literature. As I sit in my study I am surrounded by the living thoughts and life expression of so many different people and I give a big thankyou. Equally I encourage others to share the reality of an envigorating life in such manner.

Another uncomfortable visit

Another uncomfortable visit

why do they do it
everything named bolded in large font
yes, he is sitting in the LOUNGE
and yes, I do know he is JOHN
for the last two years unknown to self
well, he maybe JOHN to someone else
the body that must be fed
the body that must be clean
the body that must be monitored
the JOHN that provides an income
John this is Peter, you remember me
PETER it doesn’t matter how big the font
or if I raise my voice, he doesn’t remember
and never will I guess, we played tennis
together for many years, invincible at doubles
John and Peter champions
but he is focused on the electronic screen
I don’t know why they have it on all the time
at least it’s muted …
SILENCE.
I always have my eye on the CLOCK
the minutes that are hours
and I can’t wait to escape
to go to the exit
the exit that is not obvious
the exit that they can never find
locked forever on the inside
and then into fresh air, and let John
flood back in memory
another uncomfortable visit
 Richard Scutter

Poppies in October – Sylvia Plath and AI

Poppies in October
Even the sun-clouds this morning cannot manage such skirts.
Nor the woman in the ambulance
Whose red heart blooms through her coat so astoundingly –

A gift, a love gift
Utterly unasked for
By a sky

Palely and flamily
Igniting its carbon monoxides, by eyes
Dulled to a halt under bowlers.
Oh my God, what am I
That these late mouths should cry open
In a forest of frosts, in a dawn of cornflowers.
Sylvia Plath (27 October 1962)

Analysis …

Nothing in sun and sky can match the poppy skirts (petals) in their colour … nor the woman (reference to herself) in the ambulance whose red heart is amazingly kept alive … the woman (SP) close to death … others not so lucky … she has been rescued and will survive.

This late showing is out of context with the season … and is a gift unasked for …and in this regard, SP could be talking about her astoundingly good luck in surviving her earlier suicide attempt … her red heart did bloom … how come she was saved? … how come she was given a second chance? … SP did not ask for this … to be re-born … at least she acknowledges this gift as a ‘love-gift’ … even if she is not thankful.

… the medicos that saved her did not know her … see her red passion, her emotional state … how could they … they wear bowler hats … head-centric on their work

… and then the lament of not knowing who she is … the poppy in October … out of context … but still alive … she cries aloud for some understanding … why should she be alive in a ‘forest of frosts’ (in a deep tangle where growth is unlikely – how she saw her life) and in a ‘dawn of cornflowers’ (emerging against the bland mass of the common … a little arogance perhaps)

Note … this poem was written on SP’s last birthday (27 Oct 1962) … her 30th birthday … at a time when she was living by herself (with the two children) in London – separated from Ted Hughes  … she also wrote another poem ‘Ariel’ on the same day … so she had time to herself on this day to devote to poetry … and to question her existence … to question why she has survived out of season (like the poppy) … and to ask why she is still alive … and inferred – why is live so hard … it is a cry for an explanation from the deep intensity of her being for a meaning in her troubled world … questioned in a state of mental unrest.

… and whether any physical poppies were around on this her birthday is open to question … they could be mind-poppies … (refer also to a previous poem ‘Poppies in July’ written in Devon in the summer … when times were different.)

And this is what AI (CHATgpt) had to say about this poem illustrating the dangers of using AI without careful attention to the response …

“Poppies in October” is one of Sylvia Plath’s poignant poems, reflecting her complex relationship with nature, life, and death. In this poem, she explores themes of beauty, transience, and the inevitable decay that accompanies life.

The imagery of poppies, often associated with remembrance and sleep, takes on multiple layers of meaning in Plath’s hands. They are portrayed as fragile and ephemeral, yet their vibrant red hue contrasts sharply with the barrenness of autumn, suggesting a defiance against mortality.

Plath’s use of language is characteristic of her poetic style—rich in symbolism and laden with emotion. The juxtaposition of “scarecrow” and “blood-burned barns” evokes a sense of desolation and decay, while the “golden mummies” suggest a haunting beauty amidst the inevitable march of time.

The poem’s closing lines, “Now she is flying / More terrible than she ever was, red / Scar in the sky, red / Comet / Over the engine that killed her— / The mausoleum, the wax house,” hint at the speaker’s acceptance of death as a transformative force. The image of the poppy as a “red / Scar in the sky” suggests a lingering presence even in death, a reminder of the fragility and resilience of life.

Overall, “Poppies in October” is a powerful meditation on mortality, capturing both the beauty and sorrow inherent in the cycle of life and death. Plath’s adept use of imagery and language imbues the poem with a haunting quality that lingers in the mind of the reader long after the final lines have been read.

Quite clearly the text that I have highlighted in red above refers to the different SP poem Stings.

Here is the last stanza of Stings ...

Now she is flying
More terrible than she ever was, red
Scar in the sky, red comet
Over the engine that killed her ----
The mausoleum, the wax house.

It is interesting that AI picked up these lines. The red scar in the sky could have association with a poppy. And after her suicide attempt in the cellar she had a scar on her face enhancing personification. Stings was written in early October 1962. That month SP was really flying in terms of her poetic creativity.

… and here is a poppy from the Australian spring a poppy very much in season.