Imbolc Valentine Moon
material from the academy of american poets:
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A Thousand Martyrs I Have Made
by Aphra Behn A thousand martyrs I have made, I never vow’d nor sigh’d in vain Alone the glory and the spoil |
Imbolc Valentine Moon
material from the academy of american poets:
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A Thousand Martyrs I Have Made
by Aphra Behn A thousand martyrs I have made, I never vow’d nor sigh’d in vain Alone the glory and the spoil |
Winter Cold Moon
“A mythology is the comment of one particular age or civilization on the mysteries of human existence and the human mind…” H.R. Ellis Davidson, Gods and Myths of Northern Europe
A life-long fascination with mythology and its companion fields, ancient religions and folklore, can be explained by this quote. We have multiple ways of understanding the world, of asking and answering big questions. In our day science is regnant, queen of the epistemological universe, but it is not enough. Not now and not ever.
(Charles Le Brun, Fall of the Rebel Angels, 1685)
Science cannot answer a why question. It can only answer how. Neither can science answer an ethical question. It can only speak to the effects of a course of action over another in the physical world. This is not a criticism of science, rather an acknowledgment of its limits.
Mythologies (usually ancient religions), ancient religions, legends and folklore are our attempts to answer the why questions. They also express our best thinking on the ethical questions, especially folklore, fairy tales in particular.
Where did we come from and why? “1 In the beginning when God created the heavens and the earth, 2 the earth was a formless void and darkness covered the face of the deep, while a wind from God swept over the face of the waters. 3 Then God said, “Let there be light”; and there was light. 4 And God saw that the light was good; and God separated the light from the darkness. 5 God called the light Day, and the darkness he called Night. And there was evening and there was morning, the first day.” NRSV
(edward_burne-jones-the_last_sleep_of_arthur)
Want to live a good life? Live like Baldr or Jesus or Lao Tze or Arthur.
How can we tell a just society from an unjust one? Look at the 8th Century Jewish prophets. Look at Confucius. (not a religion, yes, but functions like one) Look at the Icelandic Sagas. Different answers in each one.
I fell in love with these complex, contradictory wonderful narratives when I was 9 years old, maybe a bit younger. Aunt Barbara gave me a copy of Bullfinches’ Mythology. I loved Superman and Batman and Marvel Comics. I was an attentive student in Sunday School and later in seminary. Over time I’ve come to recognize this fascination as a ruling passion in my life, one that guides life choices with power in my inner world.
It will not, I imagine, fade. It means writing fantasy is a work of great joy and a hell of a lot of fun.
Winter Cold Moon
Kate premiered as both lyricist/poet and sung song writer. She wrote the following to the words of the passover song, Dayenu. We sang it today during the service at Groveland.
Refrain: Di-di-urnal di-di-urnal
di-di-urnal, di-di-urnal, di-urnal, di-urnal:[[ di-urnal, time has come
Circles come and circles go round
Life eternal, everlasting
Everlasting, life eternal
Diurnal (refrain)
Season come and seasons go round
Spring and summer, fall and winter
Winter, autumn, summer and spring.
Diurnal
Spring has come and life awakens
Time to get the garden ready
The ground is turned, seeds are planted
Diurnal
Summer comes and brings warm weather
Flowers bloom and insects hover
The crops grow big and bear their fruit.
Diurnal
Autumn comes and brings the ripening
Apples are crisp, berries are sweet
Harvest starts with food preserving.
Diurnal
Winter comes, the earth goes to sleep
Time for reflecting, memories sweet
The cycle ends, new one begins.
Diurnal
Circles come and circles go round
Life eternal, everlasting
Everlasting, life eternal
Diurnal
Winter Cold Moon
Whitman struggled to support himself through most of his life. While in Washington, he lived on a clerk’s salary and modest royalties, and spent any excess money, including gifts from friends, to buy supplies for the wounded soldiers he nursed during the Civil War.
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Specimen Days [The Inauguration]
by Walt Whitman March 4th.–The President very quietly rode down to the Capitol in his own carriage, by himself, on a sharp trot, about noon, either because he wish’d to be on hand to sign bills, or to get rid of marching in line with the absurd procession, the muslin temple of liberty and pasteboard monitor. I saw him on his return, at three o’clock, after the performance was over. He was in his plain two-horse barouche, and look’d very much worn and tired; the lines, indeed, of vast responsibilities, intricate questions, and demands of life and death, cut deeper than ever upon his dark brown face; yet all the old goodness, tenderness, sadness, and canny shrewdness, underneath the furrows. (I never see that man without feeling that he is one to become personally attach’d to, for his combination of purest, heartiest tenderness, and native Western form of manliness.) By his side sat his little boy, of ten years. There were no soldiers, only a lot of civilians on horseback, with huge yellow scarfs over their shoulders, riding around the carriage. (At the inauguration four years ago, he rode down and back again surrounded by a dense mass of arm’d cavalrymen eight deep, with drawn sabres; and there were sharpshooters station’d at every corner on the route.) I ought to make mention of the closing levee of Saturday night last. Never before was such a compact jam in front of the White House–all the grounds fill’d, and away out to the spacious sidewalks. I was there, as I took a notion to go–was in the rush inside with the crowd–surged along the passage-ways, the blue and other rooms, and through the great east room. Crowds of country people, some very funny. Fine music from the Marine Band, off in a side place. I saw Mr. Lincoln, drest all in black, with white kid gloves and a claw-hammer coat, receiving, as in duty bound, shaking hands, looking very disconsolate, and as if he would give anything to be somewhere else. |
Samhain Thanksgiving Moon
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Fragment 3: Come, come thou bleak December wind
Come, come thou bleak December wind, |
Samhain Fallowturn Moon
What makes a nation’s pillars high
And it’s foundations strong?
What makes it mighty to defy
The foes that round it throng?
It is not gold. Its kingdoms grand
Go down in battle shock;
Its shafts are laid on sinking sand,
Not on abiding rock.
Is it the sword? Ask the red dust
Of empires passed away;
The blood has turned their stones to rust,
Their glory to decay.
And is it pride? Ah, that bright crown
Has seemed to nations sweet;
But God has struck its luster down
In ashes at his feet.
Not gold but only men can make
A people great and strong;
Men who for truth and honor’s sake
Stand fast and suffer long.
Brave men who work while others sleep,
Who dare while others fly…
They build a nation’s pillars deep
And lift them to the sky.
Samhain Fallowturn Moon
The 538 poll column gives Obama a 91.6% chance of winning the electoral college and 50.6% of the popular vote. As the Wiccans say, “Blessed be.” and “So mote it be.”
(source)
Here’s Walt Whitman. We know he would have voted no on the marriage amendment:
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Election Day, November, 1884
by Walt Whitman
If I should need to name, O Western World, your powerfulest scene and show, prairies–nor your huge rifts of canyons, Colorado, spasmic geyser-loops ascending to the skies, appearing and disappearing, lakes–nor Mississippi’s stream: I’d name–the still small voice vibrating–America’s choosing day, main, the quadriennial choosing,) and inland–Texas to Maine–the Prairie States– Vermont, Virginia, California, paradox and conflict, conflict, Napoleon’s:) the peaceful choice of all, odds, the dross: purify–while the heart pants, life glows: |
Samhain Fallowturn Moon
And yet another entry, this one from poet Charlie Haislet:
Dead
Gray cold
Waiting wondering hoping
Long rows under earth
Awake
Samhain Fallowturn Moon
I’ve asked the Woollies for American cinquains in response to our tour of the Terra Cotta warriors. Already have two responses and we’ve not gone to the museum yet.
From Bill Schmidt:
Wonder. . .
Why men of clay,
Buried many eons
Show us rustic, simple beauty.
Awesome.
From Mark Odegard:
Samhain Fallowturn Moon
Listen. . .
With faint dry sound,
Like steps of passing ghosts,
The leaves, frost-crisp’d, break from the trees
And fall.
Adelaide Crapsey
was born in 1878. She is known for developing a variation on the cinquain now referred to as the “American cinquain.”*
*a class of poetic forms that employ a 5-line pattern. Earlier used to describe any five-line form, it now refers to one of several forms that are defined by specific rules and guidelines.
Adelaide Crapsey invented the modern form, known as American Cinquain[2][3] inspired by Japanese haiku and tanka,[4][5] akin in spirit to that of the Imagists[6].
The first, fundamental form is a stanza of five lines of accentual verse, in which the lines comprise, in order, 1, 2, 3, 4, and 1 stresses.
Then Crapsey decided to make the criterion a stanza of five lines of accentual-syllabic verse, in which the lines comprise, in order, 1, 2, 3, 4, and 1 stresses and 2, 4, 6, 8, and 2 syllables. Iambic feet were meant to be the standard for the cinquain, which made the dual criteria match perfectly. wikipedia