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Posts Tagged ‘morning’

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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.

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Time slides as the seasons slide,
One into the other.
As the sun slides and the moon slides.
Time slides as the days slide,
Toppling over and over,
Rolling as the sun rolls, as the stars roll.

Garn Goch is covered in cloud again.
A slow drift, wordless love.
Seeds of rivers, seeds of seas,
Collecting on the stiff sedge
That lodges between the tumbled rock.

All slides on,
A smooth falling dance
Through winter, through spring,
Through summer.
A green slide and a grey slide,
Sun and rain.

A slow smoke rises, offered.
River mist: opaque as snow, radiant.
And the calligraphy of oaks.

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ARTEFACT

We come and go one by one,
or in twos and threes,
waking, sleeping from dream to dream,
handfuls of dust cast heavenwards, taking shape,
then falling back to settled earth. Bubbles, thoughts, whispers.

Birdsong in a pearl-still dawn.
All day in this small green field,
in its tangled bare hedges,
in its edge of trees,
in its deep grasses, the birds
flit and feed, pause and fly off.
All day the sunlight picks out the distant slopes,
the forests, the valleys.
And they, too, come and go with mists
and clouds
and drifts of rain.

For months now I have been working the canvases,
(for people do so like a view to hold on to,
one so dear to them, one they do not have,
a way through the mute walls,
to remember an opening out, a beyond,
a distant something).
Against its nature to drip, against its habit to mix and merge,
against my own fingers’ wish to sweep and gesture.
A discipline,
the tying down of an illusion,
confection for tongue and eye.
A sweet minded moment, an ache of forgetting.
The life of itself, a liquid thing,
to be constrained so, to process
as a stately, well-dressed thing.
Not just a swirled, delightful, mute moment.
A meaning. A purpose identified. The monitoring of the familiar.
As if. As if.

As if there were a story.
As if there were a careful, structured tale.
A small beginning, a once, a long-ago.
Through wild, thorned paths and fog and frost
to a final end so careful balanced.
A just so.
An as it is.

Something to leave behind.
Something to say.
More than a rise and fall.
More than a raven’s cry across the valley.
More than a blackbird in the cool dawn air.
More than a drift of mist above a hidden river.
More than a rise of trout as the gnats dance on light.

The fire is lit
and it must be fed ’til nightfall.
Then, untended, it will die down,
become silent.

That smooth black,
silk-dark soot:
a hand-print,
a fingerprint on a cave wall:
we are here,
dreaming.
And we found a way through.

—-

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Raven Wind

Eight from the cliffs,
In groups of two and three,
Flowing into the light,
Into mist and mazy weather
Buoyed on distant sight
Sharp as ice,
Bright as water,
Wing-tips singing,
A smudge
Of unbegrudged blessing.

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A lovely mist
Swaddles and swathes,
Dissolving the ground.

The chant of it –
An ululation of hilltops,
A thin taste of cloud.

The silent morning,
A slow rolling light,
A gentlest breeze,
A river ripple.

A high
And abandoned moon
Sings up the sun.

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SUNDAY HYMNS

What
Is a language
That is not spoken?
Silence.

Silent as the empty cottages,
As the deserted fields,
The grass-grown tumps,
The heaped-up midden.

Good men, great men and brave,
One by one, or leading others.
Seeming a wash of tides,
Motions of change,
Revolution of planets.
So they may be,
Or ripples on a pond,
A perturbation,
A breeze upon the forest tops:
Here, a noise, then gone.

Where are the great waves
As the tides recede?
Their roar growls less.
Sorrow and joy only.
Now a tale,
A whisper,
An epitaph,
A place for ivy fingers
To cleave to,
Slurring every mark,
Knife and chisel.

To end the silence,
Or to restore the silence?
To weave it.
Become substance,
Become word,
Become rhythm.

When does habit
Turn tradition?
When, pleas and moans,
Prayers?

Sunlight on
The distant mountain.
A wren seeks grubs
Among broken
Flowerpots.

—-

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SOFT

It lies ready,
Gleaming, gentle
For the gentle sun,
Gentle for the rain.

Gentle the dead,
Soft the morning twilit
Silence.

Soft the hour
And cool
Before birdsong.

A silvered grey
The heavy grasses
Full and laid
In low waves.

Seed mantra
Low and fragrant.

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MINGLED

1
Matins

Mingled
A corded, thin delight
A wandered stream
Water and light
Water and light
The small bright hearts
Calling out daylight
Ached between clouds
The blue clouds
Pearl bright heaven.

2
Terce

It has grown now
Green and golden
Rounded as a cloud
Bright as butter
A light harvest
A sun feast.

3
Sext

A dappled day
A cowslip day
A buttercup day
A bowl of cream light
Hours blooming and dissolving
Sparkled with rain.

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BELTANE DAWN

1
A thin thread: birdsong squeezed through,
Floods open: light, blue and still.
Time dances, each moment
A coming and a going.
A sound of slow wingbeats,
A calling of mating angels.
Souls tumbling together
In the undergrowth.
The vapours of summer:
Arising smiles.
The song grows stronger:
A limitless uncurling,
A gesture of compassion,
A mudra of offering up.

2
Still pillows:
The grey cloud
Furled, uncurled
A world greened.

Two slow crows,
Shadows mated,
North by north-east
Over the dew wet fields,
Over the singing wood.

Light pushed in
From subtle edges.
A moment of flowers,
Blossomed exhalation.
She stretches in sleep,
A sudden perfume.

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HAIKU : ALAP AND JOR ALAP

Raag Bhairavi
Alap of blackbirds
Rain cooling breeze.

Liquid air
Alap of blackbirds
Wind tampura.

Cloud blooms blackbird’s song
New green sways dances
Welcome rains welcome breezes
Mind tongue tastes cool day
Touch settled on clear moments.

(Classical Indian music is arranged in developmental sections. First, is a slow alap where the notes of the scale (raga, raag) are explored in relation to the pakad or thematic melody of the piece. Next comes a jor alap, which is slightly more structured with a rhythmic percussive accompaniment on the chikari strings ( akin to strumming on the guitar combined with a lead melody picked out).
Raag Bhairavi is one of my favorites. I believe it is a morning raag, but has a rather haunting and melancholy pakad with a lovely descent of notes.)

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