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DHRUPAD 2 (night)

Slow now, night now, moon now, night now. The eye shadowed, land shadowed, mind shadowed, night now, owls now, in mind shadows and moon mind too. Cloud shadowed and fine mist light drifting wood ways, the river sky, the river wood, the river mind, the moon a drop. A drop down, suspended, held drift the night words outwards, upwards, slow now upwards, star and drift and dark shadow and cloud upwards along the light line the shadow mind cool cool in moon and deep drowned one mind slain and and and no more lost no more moon no more slope to sing the river forest sky rain cloud ways slow now, slow the moon now, the deep now the silent now the shadows. Now.

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DHRUPAD 1 (mountain air)

slow now, slow the grey cool,

slow
the
way
down.

The gods love this – space free of souls,

no
weight
of prayer.

Small thought light as wings, light on light,

shimmer stacking cloud.

The journey is one breath belonging to horizons
all ours.

They hover here,
hover here,

endless attractors
the cascading distant waters,
the air breezed
from
high
ice
centuries abiding in white.

Slow now, the in and out

suffering little from its movement,

revolving an axis honeyed.

If there are words, they become smudged distance. If there is

sound,

it drifts cloud and misty vapour,

sand, grained and free,

slipping
sift
away,

slow, now, slow.

I have been listening to a lot of Classical Indian music lately, especially rudra veena and surbahar that are instruments ideal to interpret the ancient style of dhrupad. Dhrupad is a vocal devotional music that slowly and thoroughly uncovers the notes and patterns of each piece. There is a lot of repetition and sequences, and although words are sung, it is the emotion within the notes of the raga that creates its profound effect. These poems take some of the rotational effects of dhrupad and its exploration of motifs and rhythm. Originally written as a continuous text, they will best be presented in an open arrangement so that the eye intuits the timing of its narration/reading by the various groupings of words and phrases. (I do not think I will be able to accomplish it very well here within this page structure, but hopefully there will be some of the flavour I intended). There may be something of e. e. cummings, and something of Harold Budd, something of the word patterns of George Macbeth and something of the helter-skelter pace of Dylan Thomas. But most of all, I hope, the slow savouring of sound and image suggested by the alap and jhor of dhrupad.

Lleu’s Flowers

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LLEU’S FLOWERS

These days, though I hardly close my eyes,
the dreaming words of my mouth
are the sea all things seem to float upon.
Time shifts and slows but moves as winds and rivers
over the fog-washed mountains and away.
Slim chance of anything better
than a cool oblivion in green woodland.
Little hope of acceptance for all
when our leaders glance sideways, checking exits
and their scripted equivocations.
Little has been learned, war is still the best hope:
a simple reason to wipe it all away.
Avoidance of doing good, we prefer instead outrage,
needing vast and sudden emotion to feel alive.
We were vessels for immortality,
though no longer immortal ourselves,
our minds wedded to mud and angels.
It may be days before the prophecies settle and nest.
Or it may be that this turbulent nonsense will grow and grow
until we do not notice it any more,
becoming content with an artificial intelligence,
considering it an apogee
and not the abject failure of the power of human love.
Who shall sing us down from the rotting tree?
Who bother to search us out and sing us down
to a new and whole body on the green earth?


The mountain’s breath.
Dark rivers hiss, touched by starlight.
Owls are dreaming with eyes wide open.
Small things appear and dissappear.
A spiral silence weaves upon itself.
This oak feeds upon my shattered fragments.
The fire burns low.
The mind of man steps out of sight.
A low tide roars.

Only The Dead

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ONLY THE DEAD

Only the dead
Can thrive in heaven.
Let us unravel here
In words and feelings:
This hollow as heavy as lead,
A weight of mists,
A weight of starlight fluttering.
A winding road after rain,
Leading uphill into cloud.

If we can
And if we choose
We shall balance it all with bliss;
Sound that goes beyond hearing,
Beyond the bones of meaning
And the bones of winter.
Sunlight warming closed eyes,
A drift of sheep and birdsong.

The sky is cloudless, silent.
But it will come on to rain later.
Day stretches across fields and hills.
Savour time,
For one day
Time will be no more.

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GHOST POETS OF THE T’ANG

These exiled poets
Lost in cloud
Nothing to do now
Except compose
Haunted verses.
A wash of ink
Smudged with mist
And tears.
The real
And the unreal
Melting away

On their way
To the fields
The peasants glance
Sideways
Through open windows.
The threadbare
Silks, the padded robes,
The soft hands
Of government men.
Gazing out
Painting and poetry
And wistful regret,
Awaiting the whisper
Of city assassins.

Here now, between
the pleasant mountains
Green and deserted,
Viewing the long mists
From picture windows.
Centrally heated,
Supplies by van
From city stores
Who satnav the lanes
And slur the
Names they dare not
Learn to pronounce
( the old language of
Rain and rock and poetry).
Somewhere beautiful
To die
If die we must.
Deserted by children
Who promised to visit
Often, who came once
A long time ago
But prefer somewhere
Where there are shops
And ready entertainments
And motorways
To speed through
Undistracted.
To be kept busy,
To not notice time
Drifting away.
We shall coffee morning,
We shall do our weekly tai chi
Our monthly bingo;
Attempt gardening
Between the showers;
Seek and find some
Contentment,
Like Manawyddan
And Pryderi,
Hunting through derelict lands,
Until that thunderous roar,
That small, relentless whisper
Changes everything
And we slip
Slip from memory,
An ink drawing
Washed away
In the endless
Rains.

Gylfinir

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GYLFINIR

(The Curlew)

cool morning.
clouds rise.
the curlew calls.
sunlit
is the new horizon.

damp grasses –
fresh green.
sheep in the fields
curlew on the hill.

inner light.
sun slips through
before the rain.
a distant curlew calls.

melancholy joy.
a pause in the rain.
the curlew’s descending call.

perhaps we shall
be forgiven
perhaps, forgotten:
cuckoo and
curlew
in the empty wood,
the flowering field.
sunlight and
shade
on the distant
mountain.

Gwion Watching

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GWION WATCHING

There you must stay
(Placed there for some reason)
Sitting next to impenetrable darkness
To stir what no-one else can.
Hunched as the moon
While the crooked woman sleeps.

It is not yours, this world you must watch bubbling,
It has another purpose of its own in time:
Inchoate gestation, full of all potential,
Unlimitless sound, a well of pealing light,
Webbed dawns, bird song full.

As the cormorant hangs still upon its cross of sunlight,
As the lovely whiteness bends
To a bowed and then starless dark,
As the coagulation proceeds you can do nothing but watch,
A small, waking thing on the edge of pearl-lipped perfection.

The wise know the dance ( and always have done):
The dark and light across the skies,
The mother gravid with light child, hungry darkness following,
Born for her, hungry for her and her for him,
The metre of time, a dance of shadow,
A pattern woven to weave its reflection on the ground we stand,
Limned by stones and pool, the notched stick, the knotted thread.

We must stay ( placed here for some reason)
Watching the starlight bubble,
Watching the season’s seethe and its cauldron sky heat
Steamed with cloud and drift of poetry,
The song the same, ever unsung in its entirety,
Lost in its own passionate cataracts, its tributaries, its silver streams.

And here now, when you least expect it,
Drowsy and all else in mind sleeping,
Eloquence will leap out and take you.
Words will alight from burning void,
Words not yours, becoming yours.

You will race laughing, screaming through all worlds
And finding no rest, you shall squirm a heartbeat from death,
Chasing and chased by darkness
And in the end fall golden, nothing but grain,
To ripen in night’s breast and belly.

Born nameless again, gestated on oceans,
Drowned across time towards subtle lands
Neither shore nor sea but the roar of river’s mouth,
A beam of sunlit dawn dazzling,
A perfect song, (having forgotten and remembered everything,
Lost and found everything).

Darkness curled and potent on your lip.
Light, a perfect spear upon your tongue.
Slippery as eels is language
Fed by the weeds of the world beneath:
Dark and light and all things,
And nothing, will be your song,
Everlasting echo, three drops
In a dewdrop
Moment.

AFAGDDU

AFAGDDU

Am nyt
Vo nyt vyd;
Nyt vyd am nyt vo
;

Since it may not be
It shall not be;
It shall not be
Since it may not be;

To the light, bright, guileful one
This darkness unfathomable
Is a fear ugly and unbreached.
Refusing its nomenclature
Sullen beyond edges, unruled.
If it has language it is the language of mould
The skittering of small things, of decay.
A mulch, a compost, a howl of vowels
A gutteral bubbling of green mud,
White, stripped bones grinning
Through swags of drooping flesh.
It is the architecture of night,
The logic of humus, its own gravity,
Penetration of life within life,
Life searching out new form,
Stretching for new freedoms,
A rainbow slick, gyrating in fractal.
Subhuman, unruly son of the mother
Held in her arms, limp and ever dying,
Pieta, beneath matter’s crucifixion,
The rot of resurrection, a weaving of thorns,
Refusing the excuses of others, nothing to tell,
Washed in tears, its own aromatic unguent.
A secret not what it seems, that few will approach,
Is the centre of all things.

Vyg kadeir
A’m peir
A’m deduon.

My song
And my cauldron
And my rules.

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A Wide Sun

A WIDE SUN

Slow cloud
draws the hills.

A drift of warm air takes
the last of the snows.

In deeper valleys green is
no longer an imagining,

And a wide sun
pushes out the days
Into weightless blue evenings.

It is something, now, to float upon,
To hope upon, to gather up and savour.

The fingertips of Spring
parting the valley song

And the woods, a veil of birds,
And a new green day.

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Sky Boat of the Durotriges

There now, let them rise up: the dark voices, the light voices,
The feathered, the fervid, the iron road of truth is a road we must go down
And the boat of morning and the waters of night.
We are three of indeterminate form:
Too fast, too patient, too vast to keep a single shape.
We are three, is all you need to know, the indicator of splendour.
They see us who know us, they know us who see us.
We glide on shadowed moments, in dreaming time,
On pools of blood and pools of passion.
Words that approach silence ornament us.
They say it is a boat, a barque, but it wavers as a reflection does,
As a path in shimmering summer air, as firelight in a drunken hall.
For we ride beyond the waves of light, on photonic tides,
A boat that is not a boat. A promise scratched on stone.
There are three, and that is all you need to know:
The door, the lock, the key.
A boat of gold riding endless, sparkling darkness.

The Durotriges were an Iron Age Celtic tribal group in the South of England centred on what is now the County of Dorset. They produced coins of silver and gold, often with similar designs. They are abstracted and difficult to read, though they would have been easily read by those familiar with the imagery at the time. Celtic coin imagery follows the key design features of the Mediterranean prototypes, but always playfully morphs them to subvert the message or to ‘own’ the message as part of tribal identity. The Durotriges were seafarers, familiar with the estuaries and rivers of the Dorset and Hampshire coasts. This design ultimately derives from the main features of a profile head (crown/hair, eye,nose,lips) but is usually seen as a boat of some kind with three occupants. In most versions of the design the three beings have the same characteristic shapes, suggesting they are three specific and distinct characters, that might be read as male, female amd child. The fact that there are three is a clear indication of sacredness, if not divinity. Whenever groups of three appear in Celtic art, supernatural power is signified. At th moment I am working on a series of sculptures derived from this image, and so now and then new possibilitis of interpretation arise. Of which this is one.