John Tee Sonnet Notes

Structure: Quatorzain
Meter: No meter requirement
Schema: ABcdefABghijAB

Example

Watching the Sea by Jez Farmer

While sitting on the shore I watched the sea,
My heart was seeking the answers of life,
I saw the waves, cascading white horses
Released to run towards the pebbled shore
Each pushing further in towards the land
And washing sun-baked stones until they shone.
While sitting on the shore I watched the sea,
My heart was seeking the answers of life,
I felt the salty water wash my feet,
Then up over my knees and higher still
As it reached out to grab my very soul
And cleanse my being of all that is past
While sitting on the shore I watched the sea,
My heart was seeking the answers of life

Oh What a Circus by Tim Rice

Oh What a Circus
1978
Musicals

Tim Rice
Musicals
Born: 10 November 1944, Buckinghamshire, UK
Nationality: English

Rice is a lyricist and author, best known for his collaborations with Andrew Lloyd Webber, with whom he co-wrote musical shows including Joseph and the Amazing Technicolor Dreamcoat and Jesus Christ Superstar; with Björn Ulvaeus and Benny Andersson of ABBA, with whom wrote Chess; and with Disney on Aladdin and The Lion King

The Meaning of Beltane – 1 May

Beltane is not purely about fertility and the sexual act. As with all the rituals and rites within Witchcraft the sexual union carries a much deeper metaphorical and spiritual meaning. It reminds us of the principles of universal love and the union between nature and the divine.

During the witch’s holy days throughout the year love is the guiding force. Love means many things and we all have a variety of associations with that one word. Initially when we think about love we all think about the images and feelings from our romantic experiences. Of course, passion is most certainly one facet of love. However, if we think further along the spectrum of love we can also include the commitment, attachment and devotion we feel for family, partners, children and friends. There are many forms and definitions of love, however at Beltane we celebrate universal, worldly and unconditional love. At Beltane, the love shared and expressed through the principle of the sexual union is the love of life itself. It is not cold or unfeeling yet is not attached to anyone or anything in particular, it is devoted life and living. Like the water gushing from a busted dam floods the land around it, it is a direct expression of love and is unstoppable in its representation the zeal and vitality of life. It is the benevolence of our gods flowing through the expressions of love at Beltane.

One of the most important symbolic acts of Beltane is the heiros gamos, the sacred marriage. In mythology the principle of the heiros gamos is portrayed through the many stories that include a hero marrying a goddess, or the triumph of love over evil. Symbolically, the union between the physical polar opposites of male and female represents the merging of universally opposite elements such as light and dark, centre and periphery, and hot and cold. All these oppositional points find their balance through the ritual of symbolic sexual activity at Beltane. As the great myths of the world reveal it is through the meeting of oppositional forces that life renews itself and all life becomes possible.

The heiros gamos is more than a charming mythological theme that we celebrate once a year. It is a living and breathing article of faith that exists within the spirit. A state of consciousness, the heiros gamos is present when ever we become awakened by touch or sensuality. It is the blending of two souls bound in love and the acts of desire they share. It is divine love and love is divine.

The Beltane Fire

In an open and natural setting make a fire for Beltane, ensuring every precaution is taken to ensure the fire is well-contained and has little or no chance of endangering the surrounding area. If possible, use oak for the base fire. Build the fire with branches and logs on smaller twigs. Once the fire is burning toss in the ingredients for the Fire of Azrael.

A handful of sandalwood
A handful of cedar wood
A handful of dried juniper

Watch the fire burn whilst contemplating the theme of union. The fire cannot exist without the union of heat, fuel and air. Make sure to jump over the fire to make ‘Beltane wishes.’ If you re with an intimate partner jump over the fire together to strengthen the bond and ignite the passion. Once the fire is burned out and only embers remain, gaze into the embers for portents of the future.

Safety Guidelines

When building fire outdoors always consider safety first.

Have a bucket of water at hand to douse the fire when finished or in an emergency.
Dig a small pit away from overhanging branches
Circle the pit with rocks or insert a metal fire container
Clear a five-foot area around the pit to soil
Do not use flammable liquids
Once lit, stay with the fire
Keep safe from children and pets
Do not build a fire on a windy day
Extinguish with lots of water
Do not leave smouldering embers

Blessings of love and light
Raven )O(

The Architect’s Dream by Thomas Cole

The Architect’s Dream
1840
Romanticism
Oil on canvas
Toledo Museum of Art, Toledo, Ohio, USA

The focal point of this painting is the young architect relaxing on a pile of books on top of a Classical column in the foreground. In the column is the carved dedication ‘Painted by T Cole, For I Town Arch, 1840’ indicating the painting was created for the American architect and engineer Ithiel Town. The remaining canvas is occupied by grand architectural monuments, such as Greco-Roman portico and a medieval cathedral.

Thomas Cole
The Hudson River School, Romanticism, Naturalism, The Sublime in Art
Born: 1 February 1801, Bolten-le-Moors, UK
Nationality: British-American
Died: 11 February 1848, New York, USA

Cole’s paintings stand as monuments to the dreams and anxieties of the emerging America during the mid-19th century. Born in England Cole emigrated to the USA as a young man and sought to capture the beauty of the American wilderness. He is the first artist to bring the perspective of a European Romantic landscape painter to those environments and reflect his own idealism and religious sensitivities

Forever Autumn by Jeff Wayne

Forever Autumn
1976
Musicals

Jeff Wayne
Musicals, Film and TV
Born: 1 July 1943, New York, USA
Nationality: American-British

Wayne is a composer, musician and lyricist best known for Jeff Wayne’s Musical Version of The War of the Worlds, his musical adaption of the science fiction novel by HG Wells. However, he also scored advertising jingles such as Gordon’s Gin in the 1970s and subsequently covered by The Human League, and various well-known television themes such as Good Morning Britain, World of Sport, and BBC’s Sixty Minutes.

Cello Concerto by Robert Schumann

Cello Concerto
1850
Classical

Robert Schumann
Classical
Born: 8 June 1810, Zwickau, Germany
Nationality: German
Died: 29 July 1856, Bonn, Germany

Schumann was a composer, pianist, and music critic. Regarded as one of the greatest composers of the Romantic era, Schumann left the study of law to pursue a career as a pianist but a hand injury ended his dream. Instead he turned his talents to composing and until 1840 he wrote exclusively for the piano. Later he composed for piano and orchestral works, and many Lieder

Harrisham Sonnet Notes

Created by Created by Harrisham Minhas
Structure: 2 sestets and a couplet
Meter: no restriction but should have rhythm
Schema: ababab cdcdcd ee

Example

Sonnet to Spring by Jez Farmer

Between winter and roses sunshine bloom
The birds feed and stare into heavy grey skies
In wild patches daffodils break the gloom
The warmer days coming with breezy sighs
But still inside the fires warm a cold room
The paradoxes of spring have no disguise
Soon the trees will flourish vernal green
As their pastel blossoms shyly return
Breaking out from the drabby winter scene
This fresh beauty through those cold days we yearn
We see what could be, not what might have been
For our souls delight as the seasons turn
As some say amen I say mote it be
At last the warmer days have been set free

The Wheel of the Year – Beltane

The two high sabbats within the annual cycle of seasonal celebrations are Samhain, 31 October, and Beltane, 1 May. Halfway through the Celtic year the festival of Beltane compliments Samhain in that it is the joyful balance to the darker Hallow’s. Beltane is an open-hearted and joyful celebration of life. In Pagan spirituality Beltane focuses on the principle of life as generated by the energies of physical and sexual union.

The name Beltane is derived from the ‘Bel fire’, a fire lit on the first day of May to honour the Celtic god Bel, a sun god also known as Beli or Balor. To symbolically announce the return of light and life the ancient Celts lit Bel fires with wood found in local oak groves.

Another ancient Beltane rite celebrants would cut branches of May, budded hawthorn, and bring it into their homes to mark the return of the goddess. The Maypole is also a sacred object connected to Beltane. It is symbolic of the king’s or god’s phallus and is planted deep into the earth to initiate a season of growth and fertility. The pole is decorated with ribbons and bells, and dancing around the pole is said to invigorate the earth.

In contemporary Beltane celebrations we embrace a liberated expression of our own sexuality and sexual identity. It is a time to examine sexual views, taboos, practices and expressions. Sex is natural part of living and to embrace and live life fully we have to be understanding of our own sexual desires and those of others.

Sexual energy symbolises the merging of individual identity into a collective consciousness. Through the act of sex, both actual and symbolic, two become one. It symbolises the process through which we merge with the divine force of life. In the Pagan view sex is spontaneous and uninhibited, manifesting in one’s own sexual expression and practices.

As we approach Beltane 2021, and I am gaining in confidence in sharing some of my personal practices. a good start is A May Eve Incantation

Things you will need:
• A selection a variety of fresh greenery
• A 6 inch red taper candle
• A flower

As witches we use and recite various chants and rhymes as part of our spiritual rites, Beltane Eve is no different. At midnight on the last day of April, mark out 9 foot diameter circle on the floor using the fresh greenery. Light the candle and hold it in the right hand while holding the flower and a piece of greenery in the left. Raise both the candle and flora upwards to the sky.. Starting at the east of the circler of greenery begin to walk round it clockwise while reciting the following chant. Repeat thrice.

Do not tell the priest of our ways
For he calls it a sin
That we are in the wood all night
Conjuring the summer in
Bring the good news by word of mouth
For humans, animals and fields of corn
For the sun is rising higher in the sky
By oak and ash and thorn

In love and light
Blessed be
Raven )O(

Chariots of Fire by Vangelis

Chariots of Fire
1981
Film and TV

Vangelis
Film and TV, Ambient Jazz
29 March 1943, Agria, Greece
Nationality: Greek

Vangelis is a musician and composer of progressive, electronic, ambient, jazz and orchestral music. He is best-known for his Academy award winning score to Chariots of Fire and also composing scores for Blade Runner, Antarctica, Conquest of Paradise and Alexander. From a career spanning over 50 years Vangelis is considered one of the most important figures in the history of electronic music

Roundelay Notes

A popular English form the Roundelay originates to the time of Chaucer. Consisting of any number of quatrains comprised over two couplets, the second couplet is the common rhyme within each stanza and the last line of that couplet is also a refrain.

This gives the following rhyme schema
aabB ccbB ddbB and so on.
Example

Celtic Nightmare Divena Collins

Bleak was my outlook within castle walls
But heard voices that echo`s ghostly calls
So dark was the dungeon I could not see
I ran to the entrance but found no key

A violent storm blew through the dark night
Dank was the dungeon devoid of all light
Alone and frightened I was destined to be
I ran to the entrance but found no key.

I in my destiny felt a presence so near
Why in my dreams should I suffer fear
But Oh in my heart I wished I was free
I ran to the entrance but found no key.

A putrid stench of death breathed within
Entombed in a dungeon how could I win
Who did it belong to mayhap it was me
I ran to the entrance but found no key.

Dark was the night of the ravens loud call
Death he sang shall but come to us all
Perched upon the bough of a willow tree
I ran to the entrance but found no key.

Gone was the fear of that night of sorrow
Haunt our dreams like there’s no tomorrow
When spirits of the darkness so violently
For a fantasy entrance beheld no key

Tasting Erotica

Form: Raven’s Rovi Sonnet 109

My fingers caress the precious pearl flesh
Ivory whiteness, inhaling her scent
Her irate fragrance so sweet and so fresh
With gentle stirrings I bring out her best
Just a little longer I wait to taste
For my tongue is hungry and longs to test
But such is her sweetness I cannot waste
To savour her delight then I must wait
As combining liquors create the zest
And my senses begin swirl and enmesh
Yet they still say my youth was one misspent
Yet here I linger without making haste
For as a youth I learned well to create
And garlic, she’s always good on the plate

©JGFarmer2021

To Tomato Soup

Form: Raven’s Rovi Sonnet 108

In the storm of rapid cycling and tears
It is the red fruit brings comfort to me
With warmth to my heart and soothing my fears
In my crockpot this elixir is born
Infusing stock and embracing the veg
To comfort a man so tattered and torn
His existence teeters on the thin edge
In his kitchen he can let it all go
Releasing his creative passion free
With tomato soup and a fresh bread wedge
Maybe baking a cake before the dawn
But tomato soup that begins the flow
Of healing and love when all else says no

©JGFarmer2021

Hakuna Matata by Tim Rice

Hakuna Matata
1995
Film and TV

Tim Rice
Musicals
Born: 10 November 1944, Buckinghamshire, UK
Nationality: English

Rice is a lyricist and author, best known for his collaborations with Andrew Lloyd Webber, with whom he co-wrote musical shows including Joseph and the Amazing Technicolor Dreamcoat and Jesus Christ Superstar; with Björn Ulvaeus and Benny Andersson of ABBA, with whom wrote Chess; and with Disney on Aladdin and The Lion King

Keats’ Sonnet Notes

Created by John Keats
Structure: Four triplets and a couplet
Meter: Decasyllabic or pentameter
Schema: abc abd cab cde de

Example

Paper Sheet by Jez Farmer

A paper sheet; untouched and lily white
An illusion waiting for ink to be born
Of poet’s dreams in sweet rhythm and rhyme
That voices passion for love’s own delight.
The ancient nib in poet’s hand is worn
By words that flow inside the deepest thought
And echo sounds of a bamboo wind chime
From the muse’s scented garden each night.
And though my thoughts of you maybe forlorn
When you are not with me in space and time
I have but words to speak of love and court
Your hand; and plead that you’ll take me as thine
A humble poet seeks your heart’s consort
By pen and ink that form poetic line

Delta Theta by Morris Louis

Delta Theta
1961
Colour Field Painting
Acrylic on canvas
The Hirshhorn Museum and Sculpture Garden, Washington, D.C. USA

A classic work, Delta Theta is from Louis’ Unfurled series, which are among the most renowned works by the artist. Louis folded the massive canvas before pouring thinned acrylic paint down its surface. The colour, concentrated in the lower corners of the canvas leaves the central area of Delta Theta untreated. By focusing on the corners rather than the centre, Louis took a new approach to pictorial space.

Morris Louis
Colour Field Painting, Post-Painterly Abstraction, Washington Colour School
Born: 28 November 1912, Maryland, USA
Nationality: American
Died: 7 September 1962, Washington DC, USA

Louis was one of the leading artists in Colour Field painting, along with his contemporaries Kenneth Noland and Helen Frankenthaler. In a short prolific career Louis continually experimented with method and medium, manipulating large canvases in creative wats to control the flow and stain of paint. His maturity of style, characterized by layered veils and rivulets of poured acrylic paint on untreated canvases, make his paintings among the most iconic works of Colour Field painting.

Beech Tree by Achille-Etna Michallon

Beech Tree
1815
Romanticism
Oil on canvas
The Metropolitan Museum of Art and, New York, USA

Michallon first exhibited at the Paris Salon in 1812 when he was sixteen and was awarded the inaugural Prix de Rome in the historical landscape painting category in 1817. This study dates between those two dated to when the artist was studying under Jean Victor Bertin and Michallon was instructed to paint individual trees.

Achille-Etna Michallon
Romanticism
Born: 22 October 1796, Paris, France
Nationality: French
Died: 24 September 1822, Paris, France

Michallon was a prodigiously talented artist who tragically died at the very young age of 25. He was the son of a sculptor and studied under Jacques-Louis David and Pierre-Henri de Valenciennes. In 1817, he won the Prix de Rome for landscape painting. He studied in Italy for two years but died of pneumonia before he could develop what he had learned

Kal’s First Fireburst Notes

Created by Jose Rizal M Reyes
Structure: Three quatrains and a couplet
Meter: Decasyllabic or pentameter
Schema: abcb bcdc cded de
Note: The third line in each stanza must have a feminine end-word

Example

Owed to Judges by Lawrence R. Eberhart

Someone is tasked with being judge, of course
in any competition of the arts.
Most earn the right thru their displayed performance;
they know the subject and its many parts.
Ascension doesn’t come in fits and starts.
Good judges are not found by happenstance.
The choosers can’t be slouches (lest they’re wealthy
when finding talent’s just a game of chance.)
Ekphrastic work by poets should enhance
appreciation of the art they see
The poet’s not the judge of what’s been rendered
yet his interpretation talks to me.
So, judges I applaud you, don’t you see?
It’s challenging to have the final word

Wasted Years by Iron Maiden

Wasted Years
Album: Somewhere In Time
Date: 1986
Genre: Metal

Lyrics by Adrian Frederick Smith

Wasted years!
One, two, three-

From the coast of gold, across the seven seas
Travelin’ on, far and wide
But now it seems I’m just a stranger to myself
And all the things I sometimes do, it isn’t me but someone else

I close my eyes and I think of home
Another city goes by in the night
Ain’t it funny how it is? You never miss it til’ it’s gone away
And my heart is lying there, will be ’til my dying day, Adrian!

So understand
Don’t waste your time always searching for those wasted years
Face up, make your stand
Realize you’re living in the golden years

Too much time on my hands, I got you on my mind
Can’t ease this pain so easily
When you can’t find the words to say, hard to make it through another day
And it makes me wanna cry, throw my hands up to the sky

So understand
Don’t waste your time always searching for those wasted years
Face up, make your stand
Realize you’re living in the golden years, hey!

So understand, Adrian!
Don’t waste your time always searching for those wasted years
Face up, make your stand
Realize you’re living in the golden years

So understand
Don’t waste your time always searching for those wasted years
Face up, make your stand
Realize you’re living in the golden years, hey!

Iron Maiden

Iron Maiden are an English heavy metal band formed in London in 1975 by bassist and songwriter Steve Harris. The band’s discography to date includes 39 albums, 4 EPs, and 7 compilations. Pioneers of the resurgence of British heavy metal, Iron Maiden achieved their initial success during the early 1980s. They are considered one

Let Me Entertain You by Robbie Williams

Robbie Williams

Williams is a singer-songwriter and entertainer. He found fame as a member of the boy band Take That from 1990 to 1995, and achieved even greater commercial success with a solo career, beginning in 1996. He has released seven UK number one singles and eleven out of his twelve albums have also reached number one in the UK. Williams entered the Guinness Book of world records in 2006 for selling 1.6 million tickets for the Close Encounters Tour in a one day.

Let Me Entertain You
Album: Life thru a Lens
Date: 1997
Genre: Pop

Lyrics by Jule Styne and S. Sondheim

Hell is gone and heaven’s here
There’s nothing left for you to fear
Shake your arse come over here
Now scream
I’m a burning effigy
Of everything I used to be
You’re my rock of empathy, my dear

So come on let me entertain you
Let me entertain you

Life’s too short for you to die
So grab yourself an alibi
Heaven knows your mother lied
Mon cher
Separate your right from wrongs
Come and sing a different song
The kettle’s on so don’t be long
Mon cher

So come on let me entertain you
Let me entertain you

Look me up in the yellow pages
I will be your rock of ages
Your see through fads and your crazy phases yeah
Little Bo Peep has lost his sheep
He popped a pill and fell asleep
The dew is wet but the grass is sweet, my dear

Your mind gets burned with the habits you’ve learned
But we’re the generation that’s got to be heard
You’re tired of your teachers and your school’s a drag
You’re not going to end up like your mum and dad

So come on let me entertain you
Let me entertain you
Let me entertain you

He may be good he may be outta sight
But he can’t be here so come around tonight
Here is the place where the feeling grows
You gotta get high before you taste the lows
So come on

Let me entertain you
Let me entertain you
So come on let me entertain me
Let me entertain you

Come on come on come on come on
Come on come on come on come on
Come on come on come on come on
Come on come on come on come on
Come on come on come on come on
Come on come on come on come on

Let me entertain you…

Childe Roland to the Dark Tower Came by Robert Browning

Childe Roland to the Dark Tower Came
1852

I.
My first thought was, he lied in every word,
That hoary cripple, with malicious eye
Askance to watch the workings of his lie
On mine, and mouth scarce able to afford
Suppression of the glee, that pursed and scored
Its edge, at one more victim gained thereby.

II.
What else should he be set for, with his staff?
What, save to waylay with his lies, ensnare
All travellers who might find him posted there,
And ask the road? I guessed what skull-like laugh
Would break, what crutch ’gin write my epitaph
For pastime in the dusty thoroughfare.

III.
If at his counsel I should turn aside
Into that ominous tract which, all agree,
Hides the Dark Tower. Yet acquiescingly
I did turn as he pointed, neither pride
Now hope rekindling at the end descried,
So much as gladness that some end might be.

IV.
For, what with my whole world-wide wandering,
What with my search drawn out through years, my hope
Dwindled into a ghost not fit to cope
With that obstreperous joy success would bring,
I hardly tried now to rebuke the spring
My heart made, finding failure in its scope.

V.
As when a sick man very near to death
Seems dead indeed, and feels begin and end
The tears and takes the farewell of each friend,
And hears one bit the other go, draw breath
Freelier outside, (‘since all is o’er,’ he saith
And the blow fallen no grieving can amend;’)

VI.
When some discuss if near the other graves
be room enough for this, and when a day
Suits best for carrying the corpse away,
With care about the banners, scarves and staves
And still the man hears all, and only craves
He may not shame such tender love and stay.

VII.
Thus, I had so long suffered in this quest,
Heard failure prophesied so oft, been writ
So many times among ’The Band’ to wit,
The knights who to the Dark Tower’s search addressed
Their steps – that just to fail as they, seemed best,
And all the doubt was now – should I be fit?

VIII.
So, quiet as despair I turned from him,
That hateful cripple, out of his highway
Into the path he pointed. All the day
Had been a dreary one at best, and dim
Was settling to its close, yet shot one grim
Red leer to see the plain catch its estray.

IX.
For mark! No sooner was I fairly found
Pledged to the plain, after a pace or two,
Than, pausing to throw backwards a last view
O’er the safe road, ’twas gone; grey plain all round;
Nothing but plain to the horizon’s bound.
I might go on, naught else remained to do.

X.
So on I went. I think I never saw
Such starved ignoble nature; nothing throve:
For flowers – as well expect a cedar grove!
But cockle, spurge, according to their law
Might propagate their kind with none to awe,
You’d think; a burr had been a treasure trove.

XI.
No! penury, inertness and grimace,
In some strange sort, were the land’s portion. ‘See
Or shut your eyes,’ said Nature peevishly,
It nothing skills: I cannot help my case:
’Tis the Last Judgement’s fire must cure this place
Calcine its clods and set my prisoners free.’

XII.
If there pushed any ragged thistle-stalk
Above its mates, the head was chopped, the bents
Were jealous else. What made those holes and rents
In the dock’s harsh swarth leaves, bruised as to baulk
All hope of greenness? Tis a brute must walk
Pashing their life out, with a brute’s intents.

XIII.
As for the grass, it grew as scant as hair
In leprosy; thin dry blades pricked the mud
Which underneath looked kneaded up with blood.
One stiff blind horse, his every bone a-stare,
Stood stupified, however he came there:
Thrust out past service from the devil’s stud!

XIV.
Alive? he might be dead for aught I knew,
With that red gaunt and colloped neck a-strain.
And shut eyes underneath the rusty mane;
Seldom went such grotesqueness with such woe;
I never saw a brute I hated so;
He must be wicked to deserve such pain.

XV.
I shut my eyes and turned them on my heart,
As a man calls for wine before he fights,
I asked one draught of earlier, happier sights,
Ere fitly I could hope to play my part.
Think first, fight afterwards, the soldier’s art:
One taste of the old time sets all to rights.

XVI.
Not it! I fancied Cuthbert’s reddening face
Beneath its garniture of curly gold,
Dear fellow, till I almost felt him fold
An arm to mine to fix me to the place,
The way he used. Alas, one night’s disgrace!
Out went my heart’s new fire and left it cold.

XVII.
Giles then, the soul of honour – there he stands
Frank as ten years ago when knighted first,
What honest man should dare (he said) he durst.
Good – but the scene shifts – faugh! what hangman hands
Pin to his breast a parchment? His own bands
Read it. Poor traitor, spit upon and curst!

XVIII.
Better this present than a past like that:
Back therefore to my darkening path again!
No sound, no sight as far as eye could strain.
Will the night send a howlet or a bat?
I asked: when something on the dismal flat
Came to arrest my thoughts and change their train.

XIX.
A sudden little river crossed my path
As unexpected as a serpent comes.
No sluggish tide congenial to the glooms;
This, as it frothed by, might have been a bath
For the fiend’s glowing hoof – to see the wrath
Of its black eddy bespate with flakes and spumes.

XX.
So petty yet so spiteful! All along,
Low scrubby alders kneeled down over it;
Drenched willows flung them headlong in a fit
Of mute despair, a suicidal throng:
The river which had done them all the wrong,
Whate’er that was, rolled by, deterred no whit.

XXI.
Which, while I forded – good saints, how I feared
To set my foot upon a dead man’s cheek,
Each step, of feel the spear I thrust to seek
For hollows, tangled in his hair or beard!
It may have been a water-rat I speared,
But, ugh! it sounded like a baby’s shriek.

XXII.
Glad was I when I reached the other bank.
Now for a better country. Vain presage!
Who were the strugglers, what war did they wage,
Whose savage trample thus could pad the dank
soil to a plash? Toads in a poisoned tank
Or wild cats in a red-hot iron cage –

XXIII.
The fight must so have seemed in that fell cirque,
What penned them there, with all the plain to choose?
No footprint leading to that horrid mews,
None out of it. Mad brewage set to work
Their brains, no doubt, like galley-slaves the Turk
Pits for his pastime, Christians against Jews.

XXIV.
And more than that – a furlong on – why, there!
What bad use was that engine for, that wheel,
Or brake, not wheel – that harrow fit to reel
Men’s bodies out like silk? With all the air
Of Tophet’s tool, on earth left unaware
Or brought to sharpen its rusty teeth of steel.

XXV.
Then came a bit of stubbed ground, once a wood,
Next a marsh it would seem, and now mere earth
Desperate and done with; (so a fool finds mirth,
Makes a thing and then mars it, till his mood
Changes and off he goes!) within a rood –
Bog, clay and rubble, sand, and stark black dearth.

XXVI.
Now blotches rankling, coloured gay and grim,
Now patches where some leanness of the soil’s
Broke into moss, or substances like boils;
Then came some palsied oak, a cleft in him
Like a distorted mouth that splits its rim
Gaping at death, and dies while it recoils.

XXVII.
And just as far as ever from the end!
Naught in the distance but the evening, naught
To point my footstep further! At the thought,
A great black bird, Apollyon’s bosom friend,
Sailed past, not best his wide wing dragon-penned
That brushed my cap – perchance the guide I sought.

XXVIII.
For, looking up, aware I somehow grew,
’Spite of the dusk, the plain had given place
All round to mountains – with such name to grace
Mere ugly heights and heaps now stolen in view.
How thus they had surprised me – solve it, you!
How to get from them was no clearer case.

XXIX.
Yet half I seemed to recognise some trick
Of mischief happened to me, God knows when –
In a bad dream perhaps. Here ended, then
Progress this way. When, in the very nick
Of giving up, one time more, came a click
As when a trap shuts – you’re inside the den.

XXX.
Burningly it came on me all at once,
This was the place! those two hills on the right,
Crouched like two bulls locked horn in horn in fight;
While to the left a tall scalped mountain … Dunce,
Dotard, a-dozing at the very nonce,
After a life spent training for the sight!

XXXI.
What in the midst lay but the Tower itself?
The round squat turret, blind as the fool’s heart,
Built of brown stone, without a counterpart
In the whole world. The tempest’s mocking elf
Points to the shipman thus the unseen shelf
He strikes on, only when the timbers start.

XXXII.
Not see? because of night perhaps? – why day
Came back again for that! before it left
The dying sunset kindled through a cleft:
The hills, like giants at a hunting, lay,
Chin upon hand, to see the game at bay, –
’Now stab and end the creature – to the heft!’

XXXIII.
Not hear? When noise was everywhere! it tolled
Increasing like a bell. Names in my ears
Of all the lost adventurers, my peers –
How such a one was strong, and such was bold,
And such was fortunate, yet each of old
Lost, lost! one moment knelled the woe of years.

XXXIV.
There they stood, ranged along the hillsides, met
To view the last of me, a living frame
For one more picture! In a sheet of flame
I saw them and I knew them all. And yet
Dauntless the slug-horn to my lips I set,
And blew. ’Childe Roland to the Dark Tower came.’

Robert Browning
Born: 7 May 1812, London, UK
Nationality: English
Died: 12 December 1889, Venice, Italy

Browning was a poet and playwright whose dramatic monologue made him one of foremost Victorian Poets. His poetry is known for its irony, dark humour, characterization, historical settings, social commentary and challenging vocabulary

Demure

Form: Free Rhyme

Sweet and sensual, yet so outwardly shy
I cannot help but love you I do not ask why
My heart beats as your eyes look at me
From this sweet prison I never wish to be free
Sensual and sexual, feminine and demure
My eternal oxymoron of a love divinely pure
Your love feeds my hunger, drives my desire
Sate me my angel, set my soul on fire

©JGFarmer2008

Planet Caravan by Black Sabbath

Black Sabbath
Black Sabbath were a rock band formed in Birmingham, UK, in 1968 by Tony Iommi (guitarist), Bill Ward (drummer), Geezer Butler (bassist) and Ozzy Osbourne (vocalist). Cited as pioneers of the heavy metal the band helped define the genre.

Planet Caravan
Album: Paranoid
Date: 1970
Genre: Psychedelic Rock

Lyrics by Anthony Frank Iommi, John Osbourne, Terence Michael Butler, and WT Ward

We sail through endless skies
Stars shine like eyes
The black night sighs

The moon in silver trees
Falls down in tears
Light of the night

The Earth, a purple blaze
Of sapphire haze
In orbit always

While down below the trees
Bathed in cool breeze
Silver starlight breaks down the night
And so we pass on by the crimson eye
Of great god Mars
As we travel through the universe

Jeffrey’s Sonnet Notes

Created by Scott J Alcorn
Structure: 2 sestets with a cross rhymed couplet (the cross rhyme is in the 2nd to 4th syllable in each of the two lines of the couplet). Also there is a cross rhyme in the first line of the 2nd sestet (between the 2nd to 4th syllable), tying the 1st sestet to the 2nd
Meter: Octosyllabic or tetrameter
Schema: aabccb, (b)ddeffe, (e)g (g)e

Example

Miles Away by Scott J Alcorn

A thousand miles away- I hear,
your soft whispered voice so clear.
The gentle hush, of evening’s sigh-
Yet alas, you’re so far away.
My heart yearns and drifts where it may,
a longing I cannot deny.
So down I lie- night slowly falls
and in dreams I restlessly call.
Yet, you’re not there to hear the plea.
Oh, how my heart weeps in longing…
Pervasive, tangible, yearning…
You’re still a thousand miles from me.
Distance I see- in between.
My love, unseen, and miles from me

Rictameter Notes

Inspired by the movie ‘The Dead Poets Society’ cousins Jason and Richard Wilkins formed their own society of poets and from their challenges Richard created the Rictameter in 1990-91. Based on the concept of a cinquain and its functionality without restrictions other than format the popularity of the form has spread.
With no rhyme or meter there is only a strict adherence to the syllable count. Like the cinquain the Rictameter has a two syllable increment with each line, and a two syllable closure. However the Rictameter doesn’t stop at eight syllables it continues with a line of ten syllables then decreases each line by two syllables until the closure. The closure is a repeat of line one.
The syllable count is as follows – 2R, 4, 6, 8, 10, 8, 6, 4, 2R

Example

Here is the very first one by Rich Wilkins;

Treasure
Placed in your view
So close but out of reach
Torturous to all your senses
For they each cry aloud to possess it
Their desires forever unquenched
For the things some want most
They cannot have
Treasure

and his cousin Jason Wilkins’ response

Satin
As your lips are
Pressed to mine as velvet
Soft and full with rounded sweetness
Two gentle petals alive with the night
Misted in the summer beauty
Of rains that shower love
‘Pon your lips of
Satin

Kissing’s Worth

Form: Free Verse

Sat on the edge of the bed
watching
silently staring
at you
wanting to kiss you
wanting to leave my mark
so you know I love you
I see your eyes widen
as I coat my lips
in molten wax
before kissing your forehead
like a seal
a perfect mark of red wax
I know you feel the warmth of wax
and kiss slowly downward
as a red flush covers your face
and on to your shoulders
my kisses running their course
the course of desire
the course of fire
and I lay down beside you
knowing you know
how much I need you
because you will always know
in the proof of my lips.

©JGFarmer2021

Primal Touch

A Garret Poet

Form: Malaysian Sonnet

I celebrate your beauty with my eyes
In naked flesh there can be no disguise
My hunger surging within my blood; deep
Within me this need comes as no surprise
The primal touch that bids the heart to leap
To take a chance that love has found its keep
Inside each other’s arms throughout the night
As in our passion’s glow we drift to sleep
Can love be the sensuous divine light
And a kiss the gentle word of invite
That draws me close until I breathe you in
When in the morning sun we reunite
And as we lay here again, skin on skin
It is in your love my heartbeats begin

Photo by cottonbro on Pexels.com

©JGFarmer2009

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#Writephoto – The Most Precious Stone

This week’s photo provided by KL to inspire us to write speaks to my soul, and the feeling keys don’t always unlock, but lock, securing what needs to be shut away. The prompt can be found here – https://new2writing.wordpress.com/2021/04/22/writephoto-the-secret-in-the-stone/

The Most Precious Stone

The Secret in the Stobe by KL Caley
I am the stone that listens
to the secrets
holding them close
as a mother holds her child
for these are the secrets of my children
told to me when they had no one else to share
the secrets of their anguish and pain
the secrets of their love and joy
shared in their heartbreak
when compassion had turned them away
that’s when my children find me and speak
through their tears
through their fears
and through their pain
my children
society’s outcasts
unwanted
unloved
but truly they are loved by me
and as their tears fall on the keys
my love locks their secrets in stone
never to be told
my children are free
to love again
to live life again
for their secrets are mine
and my love will never tell
my love will never turn them away
I am the stone that listens
mother, goddess, lady of rock
and when you need me most
my child
you will find me

©JGFarmer 2021

The Bridge by Octavio Paz

The Bridge

Between now and now,
between I am and you are,
the word bridge.

Entering it
you enter yourself:
the world connects
and closes like a ring.

From one bank to another,
there is always
a body stretched:
a rainbow.
I’ll sleep beneath its arches

Octavio Paz
Born: 31 March 1914, Mexico City, Mexico
Nationality: Mexican
Died: 19 April 1998, Mexico City, Mexico

Octavio Paz was a poet and diplomat. He was awarded the 1981 Miguel de Cervantes Prize for his work and the 1990 Nobel Prize in Literature

#WRITEPHOTO – The Secret in the Stone

This one from KL is certainly thought-provoking

New2Writing

Afternoon Everyone,

Welcome to the weekly #writephoto prompt!

Stone’s don’t lie, or do they? This week’s prompt is an interesting stone with a key-like inscription.
I can’t wait to read your entries this week.

The Secret in the stone – Image by KL Caley

For visually challenged writers, the image shows a stone or a tomb with a key-like inscriptionbut no words upon it.

The regulars already know this bit, but for those that don’t:

  • EachThursdayatNoon GMTI will post the #writephoto prompt
  • Use the image and prompt as inspiration to create a post on your own blog… poetry, prose, humour… light or dark, whatever you choose, as long as it is fairly family-friendly.
  • Please have your entries linked back to the original prompt post by the followingTuesdayatNoon GMT.
  • Link back to this postwith a pingback (Hugh has…

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Italian Sonnet Notes

Italian Sonnet 1

Structure: Octave and sestet
Meter: decasyllabic or pentameter
Schema: abbaabba cdcdcd

Example

Cinderella’s Fetish by Jez Farmer

An obsession once a cute quirk
Engaging her within my desire
Delicate feet dancing with fire
And I felt all my senses jerk
For her heart I was going berserk
With love and lust on a live wire
But too soon the passions turned dire
There are no more hours I can work
To feed her addiction and lust
For slippers, stilettos and boots
Finest leather just to tread dust
So many shoes he substitute
Destroying love, destroying trust
Her passion I once found so cute

Italian Sonnet 2

Structure: Octave and sestet
Meter: decasyllabic or pentameter
Schema: abbaabba cddcee

Example

Ballet and Bandits by Jez Farmer

The Garden is still heaving at midnight
Tourists and revellers after a show
And the last trains are blaring ‘time to go’
An atmosphere to awaken delight
As 2am strikes the Garden falls quite
Quiet; now the pubs have closed and clubs glow
For the all-nighters are in their full flow
As another drunk staggers out of sight
And still the broken minds lurking about
In a side street hidden back in the shade
The echo of voices; a flashing blade
The day begins with a stall holder’s shout
Bowler hats and suits rise from underground
And pickpockets dip for what can be found

Italian Sonnet 3

Structure: Octave and sestet
Meter: decasyllabic or pentameter
Schema: abbaabba cdecde

Example

Curiosity’s Fortune by Jez Farmer

Ask the question and all the answers come
So many answers and all them are right
Which one will inspire the mind to flight
It is enough to leave the thinking numb
And I’m left wondering was I so dumb
To ask this old question so late at night
As too many answers now come to light
And I have no idea where they come from
But it’s too late when the question’s been asked
The truth I sort and the truth I must chase
Through chaos and confusion like a maze
Beyond the now leaving behind the past
This reality I now have to face
And let my life enter this, a new phase

Italian Sonnet 4

Structure: Octave and sestet
Meter: decasyllabic or pentameter
Schema: abababcc defdef

Example

The Rigi State of Mind by Jez Farmer

The queen of mountains, a peak for the climb
But she is much more than a place to go
Inspiring words of an old poet’s rhyme
On her paths the state of mind starts to flow
Between pulsing attitudes of lost time
Between lake waters and eternal snow
Sweet mountain side of memories sublime
The place where Goethe’s soul I came to know
Looking out from your crest I see delight
Capturing poet’s words and artist’s paint
From Alpine peaks to the lakes the eyes see
Reasons the artists paint and poets write
Before their minds’ recall becomes to faint
And creative dreams are lost to Rigi

Italian Sonnet 5

Structure: Octave and sestet
Meter: decasyllabic or pentameter
Schema: abababcc defdef

Example

In His Light by Jez Farmer

Amid blustering winds and rain he shines
And the seasons turn to the coming spring
The Equinox nears in his early signs
When day equals night his rebirth we sing
The return of life within nature divine
To the glory of the holy Sun King
His spirit dances in daffodil cloud
Once more the god of earth is marching proud
He marches forth away from winter’s chill
Forward he marches to the Beltane day
And the flowers of spring bloom in his wake
While sparrows serenade love in their shrill
Song; the lord of ages dancing his way
And in his light we feel the winter break

Italian Sonnet 6

Structure: Octave and sestet
Meter: decasyllabic or pentameter
Schema: abababcc dedede

Example

Floating City by Jez Farmer

Old city of art that echoes romance
On meandering canals of lost dreams
And immoral lovers kiss in a chance
On the bridges, in the square, moonlit streams
The kisses that wander into the dance
In a passion that is more than it seems
For here the noise of the world is shut out
By her beauty that lingers all about
In her streets she saw the Renaissance play
Refugees and religion, art galore
Memories of time always there to stay
As the city slowly sinks a bit more
Her elegance entwined with her decay
Venice, drowning like lust lost in decor

The Best Things

Form: Quintilla

When the day is too full of gloom
And the daily grind gets you down
You can feel your face start to frown
Don’t forget sat in the backroom
Your best is yet to make it’s boom
The best of you is yet to come
The best of life is yet to be
So smile for all you’ve yet to see
The power is yours and then some
Your time to shine will surely come
So don’t waste your time with the fret
Don’t give worry a second thought
Stick with the goals you always sought
Today exists in the not yet
Tomorrow is a safer bet

©JGFarmer2021

Can’t Put a Price on Love by The Knack

The Knack
An American rock band, The Knack were based in Los Angeles and rose to fame with their first single ‘My Sharona in 1979. The band consisted of Doug Fieger (lead vocalist), Berton Averre (lead guitar, backing vocals and keyboards), Bruce Gary (drums), and Prescott Niles (bass guitar)

Can’t Put a Price on Love
Album: But the Little Girls Understand
Date: 1980
Genre: Pop

Lyrics by Doug Fieger and Berton Averre

You smoked me like a cigarette
I was burned I was cast aside
Now you knew what you couldn’t get
So you settled for my pride
But it’s all right
It’s cool baby tonight
When push comes to shove
Ooh baby you gave me enough
And I’ll pay when the price is right
But you can’t put a price on love

Now you can fly like you’ll never fall
What you touch maybe turn to gold
And you can talk ’til you’ve said it all
It’s just the greatest story ever told
Right down the line
Ooh baby it’s fine
When push comes to shove
Ooh baby you gave me enough
And I’ll pay when the price is right
But you can’t put a price on love

Now you can give what you wanna give
I won’t consider that you might be lying
You live a life that you wanna live
But it’s deeper when it’s love you’re buying
I’ll pay when the price is right
But you can’t put a price on love
Make up your mind
Ooh maybe it’s time
When push comes to shove
Ooh baby you gave me enough
And I’ll pay when the price is right
But you can’t put a price on love
Yes I will pray for another night
But you can’t put a price on love .

Memory by Andrew Lloyd Webber

Memory
1983
Musicals

Andrew Lloyd Webber
Musicals, Film and TV
Born: 22 March 1948, London, UK
Nationality: English

Lloyd-Webber is a composer and impresario of musical theatre. Best known for his musicals, including ‘The Phantom of the Opera,’ ‘Evita,’ ‘Jesus Christ Superstar,’ and ‘Joseph and the Amazing Technicolor Dreamcoat.’ Some of his musicals have run on the West End for more than a decade and on Broadway. A patron of the arts, in 1992 he set up Andrew Lloyd Webber Foundation supporting arts, culture, and heritage in the UK..

Sonnet to Spring

Form: Harrisham Sonnet

Between winter and roses sunshine bloom
The birds feed and stare into heavy grey skies
In wild patches daffodils break the gloom
The warmer days coming with breezy sighs
But still inside the fires warm a cold room
The paradoxes of spring have no disguise
Soon the trees will flourish vernal green
As their pastel blossoms shyly return
Breaking out from the drabby winter scene
This fresh beauty through those cold days we yearn
We see what could be, not what might have been
For our souls delight as the seasons turn
As some say amen I say mote it be
At last the warmer days have been set free

©JGFarmer2021

Untitled #209, “History Portrait” Series by Cindy Sherman

Untitled #209, “History Portrait” Series
1989
Feminist Art
Colour Photograph
The Estate of Jean-Michel Basquiat

Sherman assumes the persona of the Mona Lisa in this three-quarter length, Italian Renaissance-style portrait. Not a true replica, the photo is intended to call the original painting to mind without copying it, somehow haunting the imitation with the original. Possibly it is suggesting that we rethink the familiarity of the original and examine and question how its conventions of depiction continue to influence the representation of the ‘Female’ today, hundreds of years after the original was created.

Cindy Sherman
The Pictures Generation, Conceptual Art, Feminist Art, Post Modernism
Born: 19 January 1954, New Jersey, USA
Nationality: American

A contemporary master of socially critical photography, Sherman is a key figure of the Pictures Generation, a circle of American artist who came into artistic maturity during the early 1980s, an era of rapid and widespread proliferation of mass media imagery. In art school painting in a super-realist style during the aftermath of American Feminism Sherman took up photography at the end of the 1970s to explore common female social roles and personas. She sought to question the seductive and oppressive influence of mass media on individual and collective identities.

Nessun Dorma by Giacomo Puccini

Nessun Dorma
1920
Opera

Giacomo Puccini
Opera
Born: 22 December 1858, Lucca, Italy
Nationality: Italian
Died: 29 November 1924, Brussels, Belgium

Puccini was a composer of opera and has been recognised as the greatest composer of Italian opera since Verdi. His early work was rooted in traditional late 19th-century romantic opera and later he as his work developed, he became a leading exponent in the realistic verismo style

Jim Steinman 1947 – 2021

The music of Jim Steiman through Meat Loaf and Bonnie Tyler introduced me to rock – for that I am eternally grateful. Below are some of the songs by Jim that will always be on my playlist

Thank you for the music

Jim Steinman
1 November 1947 – 19 April 2021
RIP

In Silence

A Garret Poet

Form: Keats’ Sonnet

Here in silence there is no single voice;
No sound but trees that whisper to the ground
And touch the soul with spiritual embrace.
Here in silence a heart can sing, rejoice
In beauty that shines from natural ground
And echoes love we share with Mother Earth,
In ev'ry flower eyes can glimpse her grace.
Here in silence a prayer can make its choice,
A soul that lost its way at last is found
Because I saw the beauty in her face,
Here in silence the moment of rebirth,
My heart began to beat, I came alive.
It's in her love I feel both joy and mirth
And know there is nothing I'll not survive

Photo by Maria Orlova on Pexels.com

©JGFarmer2015

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Heroic Sonnet Notes

Structure: Octave and sestet
Meter: Decasyllabic or pentameter
Schema: aabbccdd eeffgg

Example

Spark by Jez Farmer

The darkness of depression holds my hand
Embracing me here where I cannot stand
And my eyes of tears cannot see the way
To lead me out into the light of day
There is no place that I can go, not now
For darkness holds me as if in a vow
All my hope is gone, all my hope is spent
And I’m longing for that long descent
I hear their voices like a tidal wave
I’m not convinced, I’m not worthy to save
With nothing to say my last breaths must come
The eternal darkness taking me home
But in my mind there is a spark of light
And in my heart she’s my reason to fight

In the Junk Drawer

Form: Hierarchal Sonnet

It’s that time to clear out the drawer of junk
To rummage odds and sods that did a bunk
All those things that in secret try to hide
Neglected stuff aspects of me inside
Hidden away like the tears never cried
And secrets my words could never confide
Does my junk startle at the sudden light
Like my heart as dawn breaks the darkest night
Old receipts like my feelings screwed up tight
Discarded to the trash can to be right
Refusing the hand that tries to show care
I’ve no time for heartache; too much to bare
All these feelings that I just cannot share
I didn’t expect to find that in there

©JGFarmer2021

Fluorescent Complement by Richard Anuszkiewicz

Fluorescent Complement
1960
Op Art
Oil on canvas
The Museum of Modern Art, New York, USA

An imperfectly geometric work, Fluorescent Complement is formed from warm green dots set against a cool blue background. From the early days of his career Anusszkiewicz was renowned for juxtaposing warm and cool colours in this way in order to toy with visual perception to create a sense of vibration.

Richard Anuszkiewicz
Op Art, Kinetic Art
Born: 23 May 1930, Pennsylvania, USA
Nationality: American
Died: 19 May 2020, New Jersey, USA

Anuszkiewicz was a painter, sculptor, and printmaker. He is one of the masters of colour in modern American art, developing and evolving his oeuvre over a career of more than sixty years. At the root of his approach he maintained certain key principles, principally the capacity of the eye to mix complementary colours presented separately on a canvas. Anuszkiewicz trained at Yale under the great Bauhaus artist Josef Albers and carried the legacies of his mentor a step further in his experimentations of an unprecedented range of colour contrasts. From the early 1960s the work he was creating appeared to bring pigment alive on the canvas, making it vibrate or float in front of the picture surface