Love’s Coming – John Shaw Neilson – Analysis

Love’s Coming

Quietly as rosebuds
Talk to thin air,
Love came so lightly
I knew not he was there.

Quietly as lovers
Creep at the middle noon,
Softly as players tremble
In the tears of a tune;

Quietly as lilies
Their faint vows declare,
Came the shy pilgrim:
I knew not he was there.

Quietly as tears fall
On a wild sin,
Softly as griefs call
In a violin;

Without hail or tempest,
Blue sword or flame,
Love came so lightly
I knew not that he came.

John Shaw Neilson (1872 -1942)

This simple poem concentrates on one aspect of ‘Love’ namely that it is of an imperceptible quiet background nature. Latent to life but not readily recognised.

The four four line opening stanzas are a poetic transfer of this thought in terms of rosebuds, lovers, lilies and tears. The emphasis is on ‘quiet’ the first word of each opening line. The second and last lines of these stanzas rhyme and in a way a ‘list’ introduction.

It is a case of hearing or not hearing love’s coming as it gives subtle voice to its underlying existence. Love’s coming requires an acute sensitivity for any awareness.
There is no fanfare – without hail or tempest.

And the last stanza states that perhaps recognition is only known in retrospect. Love came so lightly / I knew not that he came. It is personified as masculine, I think feminine would be more appropriate given the quiet soft nature described. Perhaps when we look back on life we see how we have been cared for in terms of our spiritual understanding of life.

Now God and ‘Love’ are often equated. If this is the case then perhaps God has a similar subtle positive imperceptible influence on life as it evolves. Many believe that God created the world. However, some think that God then sat back on a cloud and switched to a different channel!

A link to John Shaw Neilson on Wikipedia

It is a Beauteous Evening, Calm and Free – Wordsworth – Comments

It is a Beauteous Evening, Calm and Free

It is a beauteous evening, calm and free,
The holy time is quiet as a Nun
Breathless with adoration; the broad sun
Is sinking down in its tranquillity;
The gentleness of heaven broods o’er the Sea;
Listen! the mighty Being is awake,
And doth with his eternal motion make
A sound like thunder—everlastingly.
Dear child! dear Girl! that walkest with me here,
If thou appear untouched by solemn thought,
Thy nature is not therefore less divine:
Thou liest in Abraham’s bosom all the year;
And worshipp’st at the Temple’s inner shrine,
God being with thee when we know it not.

William Wordsworth

Evenings always seem to be a special time of the day. And Wordsworth is totally absorbed in the beauty of the evening, breathless in adoration.

But this is a very special time for Wordsworth for he is in France walking the beach with his illegitimate daughter not seen since he left Paris at the time of the French Revolution. She would be about twelve years of age.

The lines …

                     Listen! the mighty Being is awake,
                     And doth with his eternal motion make
                     A sound like thunder—everlastingly

… obviously relate to the background of the sea … but Wordsworth is in reflective philosophical mode as he is stunned by the beauty of nature and equally the mighty Being could refer to the creator noting that Being is capitalised.

At the Volta the last six lines of the sonnet reflect on the nature of a child who is untouched by such thought. But none the less the child lies in the care of God though she may not know it. Reference is made to ‘Abraham’s bosom’ and a religious heritage of connectivity. Abraham being the common patriarch of three religions.

No matter the mental capacity of a person in an understanding God and independent of age God is there in a supportive role – especially for children. Well, I belief in a caring God for all. A great pillar of support to have such belief.

The Sabbath … is an ‘evening to evening’ observance … more details via Wikipedia – https://en.wikipedia.org/wiki/Sabbath_in_Christianity

However, there is nothing to stop us having a quiet holy time whenever in communication with God and creation – whether ‘a thank you for just the joy of life’ or for any other personal reason.

 

To His Coy Mistress – Andrew Marvell

To His Coy Mistress

Had we but world enough and time,
This coyness, lady, were no crime.
We would sit down, and think which way
To walk, and pass our long love’s day.
Thou by the Indian Ganges’ side
Shouldst rubies find; I by the tide
Of Humber would complain. I would
Love you ten years before the flood,
And you should, if you please, refuse
Till the conversion of the Jews.
My vegetable love should grow
Vaster than empires and more slow;
An hundred years should go to praise
Thine eyes, and on thy forehead gaze;
Two hundred to adore each breast,
But thirty thousand to the rest;
An age at least to every part,
And the last age should show your heart.

For, lady, you deserve this state,
Nor would I love at lower rate.
But at my back I always hear
Time’s wingèd chariot hurrying near;
And yonder all before us lie
Deserts of vast eternity.
Thy beauty shall no more be found;
Nor, in thy marble vault, shall sound
My echoing song; then worms shall try
That long-preserved virginity,
And your quaint honour turn to dust,
And into ashes all my lust;
The grave’s a fine and private place,
But none, I think, do there embrace.

Now therefore, while the youthful hue
Sits on thy skin like morning dew,
And while thy willing soul transpires
At every pore with instant fires,
Now let us sport us while we may,
And now, like amorous birds of prey,
Rather at once our time devour
Than languish in his slow-chapped power.
Let us roll all our strength and all
Our sweetness up into one ball,
And tear our pleasures with rough strife
Through the iron gates of life:
Thus, though we cannot make our sun
Stand still, yet we will make him run.

Andrew Marvell (1621 – 1678)

It is certainly a carpe diem poem but more than that it speaks to me of the very clever use of seductive words to a lady known to the author. The poem never met recognition until three years after the his death giving weight to the personal nature of the poem.

It is, of course, one of his most well-known poems, especially the following lines from the second stanza. They show his distinct hungering for action using a threatening note by comparing the likes of death on her now beautiful body; something that she has probably never thought about.

Time’s wingèd chariot hurrying near;
And yonder all before us lie
Deserts of vast eternity.
Thy beauty shall no more be found;
Nor, in thy marble vault, shall sound
My echoing song; then worms shall try
That long-preserved virginity,
And your quaint honour turn to dust,
And into ashes all my lust;

And the following lines in the last stanza emphasize his impatience and frustration –

Let us roll all our strength and all
Our sweetness up into one ball,
And tear our pleasures with rough strife
Through the iron gates of life:

He wants to take his beloved to the ‘ball’ … some ball! … he wants to gate crash to get what he wants! … note the gates are made of iron … a certain sense of imprisonment. You cannot stand outside life as an observer! … immediate action please.

Many details on this poem can be found on Wikipedia … https://en.wikipedia.org/wiki/To_His_Coy_Mistress

And here is a ‘carp diem’ poem from another famous poet considering the brevity of life at an early age …
https://mywordinyourear.com/2018/10/05/loveliest-of-trees-a-e-housman/

So just do it … if you know what you should be doing! … but don’t be pressured into something you are not ready for.

The Sunne Rising – John Donne

The Sunne Rising

Busy old fool, unruly sun,
Why dost thou thus,
Through windows, and through curtains call on us?
Must to thy motions lovers’ seasons run?
Saucy pedantic wretch, go chide
Late school boys and sour prentices,
Go tell court huntsmen that the king will ride,
Call country ants to harvest offices,
Love, all alike, no season knows nor clime,
Nor hours, days, months, which are the rags of time.

Thy beams, so reverend and strong
Why shouldst thou think?
I could eclipse and cloud them with a wink,
But that I would not lose her sight so long;
If her eyes have not blinded thine,
Look, and tomorrow late, tell me,
Whether both th’ Indias of spice and mine
Be where thou leftst them, or lie here with me.
Ask for those kings whom thou saw’st yesterday,
And thou shalt hear, All here in one bed lay.

She’s all states, and all princes, I,
Nothing else is.
Princes do but play us; compared to this,
All honor’s mimic, all wealth alchemy.
Thou, sun, art half as happy as we,
In that the world’s contracted thus.
Thine age asks ease, and since thy duties be
To warm the world, that’s done in warming us.
Shine here to us, and thou art everywhere;
This bed thy center is, these walls, thy sphere.

John Donne (1572 – 1631)

Three ten line stanza with rhyming scheme ‘abbacdcdee’. The sun personified she is indeed quiet ‘unruly’ highly emotional in her flaring and of course very old and busy. I do like that word ‘wink’ in the second stanza our lifespan so infinitesimal in comparison.

Well the Solar System does sort of control life or the way life is lived. We do have to operate on a time and season basis. But love is beyond such bounds quite independent and outside such realms of the artificial breakup so eloquently defined as ‘the rags of time’. Love is a timeless entity.

Love, all alike, no season knows, nor clim
Hours, days, months, which are the rags of time

The eyes of the sun are blind compared to the personal eyes of love which retains history. Not like the inanimate sun who knows nothing of yesterday.

If her eyes have not blinded thine,
Look, and tomorrow late, tell me, …

The world is so much more. The the sun creates life, and bountiful meaning to life. And the sun has a duty to give warmth and life to humanity. It is the centre of everything.

Shine here to us, and thou art everywhere;
This bed thy center is, these walls, thy sphere.

From memory on the nature of the sun millions of sub-atomic particles actually pass through our thumb nail every second!

And from a spiritual Christian perspective there is a lot of similarity between sun and son; and John Donne being the master of the metaphysical.

The Pains of Sleep – Coleridge – Prayer

From – The Pains of Sleep

Ere on my bed my limbs I lay,
It hath not been my use to pray
With moving lips or bended knees;
But silently, by slow degrees,
My spirit I to Love compose,
In humble trust mine eye-lids close,
With reverential resignation
No wish conceived, no thought exprest,
Only a sense of supplication;
A sense o’er all my soul imprest
That I am weak, yet not unblest,
Since in me, round me, every where
Eternal strength and Wisdom are.

This is the first stanza of a poem written by Coleridge. And this is a little different to have as a Christmas piece. The full poem was written by Coleridge when under the influence of opium and wishing to have a restful night.

Coleridge is lying on his bed he decides to pray not in the conventional way; there are no bended knees and no words uttered. It is a prayer from the mind as he composes thoughts to ‘Love’. In this respect he has a reverential resignation and a sense of supplication. A humble and sincere appeal in his weakness. Note that Love is capitalised.

But the great thing is he recognises that he is not unblest since Eternal strength and Wisdom abound and are everywhere including within his frail weak body. This is such a marvellous statement that honours the creator of life; that honours God.

Today the Christian religion recognises the son of man and the son of God in the birth of Jesus. The wonderful thing about this is the personal human connectivity that this provides.

Truly this is a day for celebration.

Country Towns – Kenneth Slessor – Analysis

Country Towns

Country towns, with your willows and squares,
And farmers bouncing on barrel mares
To public houses of yellow wood
With ‘1860’ over their doors,
And that mysterious race of Hogans
Which always keeps the General Stores….

At the School of Arts, a broadsheet lies
Sprayed with the sarcasm of flies:
‘The Great Golightly Family
Of Entertainers Here To-night’–
Dated a year and a half ago,
But left there, less from carelessness
Than from a wish to seem polite.

Verandas baked with musky sleep,
Mulberry faces dozing deep,
And dogs that lick the sunlight up
Like paste of gold – or, roused in vain
By far, mysterious buggy-wheels,
Lower their ears, and drowse again….

Country towns with your schooner bees,
And locusts burnt in the pepper-trees,
Drown me with syrups, arch your boughs,
Find me a bench, and let me snore,
Till, charged with ale and unconcern,
I’ll think it’s noon at half-past four!

Kenneth Slessor

S1 … Willows and squares typify the Australian country town which is often the centre of a rural community. And in Slessor’s day farmers would come in on horseback and it is easy to picture a farmer bouncing on the back of a rather plump horse. The public house being a main attraction and in this case perhaps going back to a building at the time the town was first settled; the wood having yellowed with age. The name Hogan goes back to the beginnings of Australian settlement; for me it has association with the film ‘Crocodile Dundee’ and Paul Hogan so maybe it is part of his family history!

S2 … You can imagine the ‘School of Arts’ building being unlocked and still having old posters hanging around. It is summer time and flies abound and here they are congregating on the faces on the poster. ‘The Great Golightly Family’ becomes tarnished somewhat not being able to shoo them off. Nobody is willing to remove the poster out of respect and the organiser hasn’t bothered to clean up after the event; quite typical in the laid-back country life in Oz. Any way it’s only a year and a half ago so there’s plenty of time.

S3 … this sets the slow ambience of a sleepy afternoon as the veranda holds those that have had a few drinks and are now in that contented alcoholic after state … the mulberry faces may be from alcohol and or sunburn and the musky smell denotes the smell from the old building … dogs licking sunlight up – perhaps this is what happens when the sun catches them asleep and they start to pant before being forced to move to a shady spot … and at times they may hear the noise of buggy-wheels nearby causing the raising of an ear to see if it is of some concern … but then lazily drifting back to sleep again … again setting the time-stop slow drift of the afternoon

S4 … a schooner is three quarters of a pint, the largest size glass that can be bought … and when full of beer contains golden nectar … just as bees are the vehicle for the golden nectar of honey (apparently this text actually refers to a large variety of bee that looks like a schooner boat)… locusts are the cicadas that are burnt by the sun and pepper trees are a commonplace home (burnt might also refer to the incessant shrill drone that cicadas make in summer).

But now the urban visitor wants some of the county town syrup – like a medication from urban busyness perhaps … and an arched bow to give a place of shade – perhaps it is unfitting for him to sit on the veranda with the other locals … but he can join in and participate with a little alcohol and then a doze and in that way time may just stop for him, or a little while anyway … and note he will forget all his worries too (the worries of his urban life) … charged with beer and unconcern

Rhyming scheme aabcdc

Kenneth Slessor on Wikipedia

The Orange Tree – John Shaw Neilsen – Analysis

The Orange Tree

The young girl stood beside me. I
Saw not what her young eyes could see:
A light, she said, not of the sky
Lives somewhere in the Orange Tree.

Is it, I said, of east or west?
The heartbeat of a luminous boy
Who with his faltering flute confessed
Only the edges of his joy?

Was he, I said, born to the blue
In a mad escapade of Spring
Ere he could make a fond adieu
To his love in the blossoming?

Listen! the young girl said. There calls
No voice, no music beats on me;
But it is almost sound: it falls
This evening on the Orange Tree.

Does he, I said, so fear the Spring
Ere the white sap too far can climb?
See in the full gold evening
All happenings of the olden time?

Is he so goaded by the green?
Does the compulsion of the dew
Make him unknowable but keen
Asking with beauty of the blue?

Listen! the young girl said. For all
Your hapless talk you fail to see
There is a light, a step, a call,
This evening on the Orange Tree.

Is it, I said, a waste of love
Imperishably old in pain,
Moving as an affrighted dove
Under the sunlight or the rain?

Is it a fluttering heart that gave
Too willingly and was reviled?
Is it the stammering at a grave,
The last word of a little child?

Silence! the young girl said. Oh why,
Why will you talk to weary me?
Plague me no longer now, for I
Am listening like the Orange Tree.

John Shaw Neilson 1919

S1 … The young girl starts a conversation with a bystander. She sees (or senses) a ‘light’ in the Orange Tree; but not so the bystander (or the poet).

S2-3 … The bystander or poet then makes enquiry on the nature of the ‘light’ expressing his thoughts on that nature in poetic terms. All his energy is on his creative thoughts. He alludes to a boy and to love.

S4 … The young girl takes no notice of his poetic rapture instructing him to ‘listen’. It is almost like a sound in the Orange Tree.

S5-6 … The bystander goes into more poetic fantasy on the possible nature of the ‘light’. Again he equates his thoughts to that of a boy.

S7 … The young girl is now irritated by the hapless talk from the bystander. She instructs him emphatically to listen!

S8-9 … Unfortunately the bystander poet takes no notice and continues his poetic expression trying to pry out the nature of her experience in his creative words rather than try to experience the ‘light’ for himself.

S10 … The young girl has had enough of his hapless weary talk. The communication with the bystander poet has ended. She is now at one with the Orange Tree sharing totally with the Tree; and perhaps at one with the natural environment. And the poet is left none the wiser.

This is one of the most known poems of John Shaw Neilsen and perhaps one of his most important poems. Every poet, writer and especially those steeped in analysis should read these words. Analysing experience detracts from the experiencing and may, as in the case above, detract from the experience of another.

And perhaps The Orange Tree can be equated to Life and ‘light’ to beauty. Life must be experienced yourself! You must listen to understand; to be in tune with life rather than letting your own fancies distract.

I hope that my analysis has not stopped enjoyment of the poem!

The humour of Ogden Nash

Looking at the humour of this well know player of the word …

– from Wikipedia …

Frederic Ogden Nash … was an American poet well known for his light verse. At the time of his death in 1971, The New York Times said his “droll verse with its unconventional rhymes made him the country’s best-known producer of humorous poetry”.

Born: August 19, 1902, Rye, New York, United States
Died: May 19, 1971, Baltimore, Maryland, United States

Some of his quotes …
A door is what a dog is perpetually on the wrong side of.
Middle age is when you’ve met so many people that every new person you meet reminds you of someone else.
There is only one way to achieve happiness on this terrestrial ball, and that is to have either a clear conscience or none at all.
Progress might have been all right once, but it has gone on too long.
People who work sitting down get paid more than people who work standing up.

His poetic style … Nash was best known for surprising, pun-like rhymes, sometimes with words deliberately misspelled for comic effect, as in his retort to Dorothy Parker’s humorous dictum, Men seldom make passes/At girls who wear glasses:

A girl who is bespectacled
She may not get her nectacled

He often wrote in an exaggerated verse form with pairs of lines that rhyme, but are of dissimilar length and irregular meter:

Once there was a man named Mr. Palliser and he asked his wife, May I be a gourmet?
And she said, You sure may,

Nash’s poetry was often a playful twist of an old saying or poem. For one example, he expressed this playfulness in what is perhaps his most famous rhyme, a twist on Joyce Kilmer’s poem “Trees” (1913):

I think that I shall never see
a poem lovely as a tree

which becomes …

I think that I shall never see
A billboard lovely as a tree

And then he adds …

Indeed, unless the billboards fall
I’ll never see a tree at all.

He is such a witty, clever, fun-word fellow … or putting it in the Ogden smash-Nash vernacular –

Ogden Nash is a humour-US poet I admire
his rhymes are often quite exemplar
for, if a word he cannot take
a new one he soon doth make
yes, Ogden Nash is a poet quite unique-lar!

Ogden Nash on Wikipedia