Who Makes a Garden

Tending the Garden. Reid Robert Payton.

 

Who Makes a Garden

Nancy Byrd Turner

 

Who rears four walls around a little plot—

Some still, secluded spot—

And digs and sows there, has done a thing

Beyond his reckoning.

In one small, fended space

Beauty and deep untellable content

Make their abiding place,

And measureless peace is pent.

There rime takes note of tender happenings:

The shimmer of a butterfly’s blue wings

Above the clustered phlox;

A spider’s will to do a miracle

Between two hollyhocks;

The twilight cricket’s humble prophesies;

A brown bird by a pool; and all that goes

Into the lovely lifetime of a rose;

A pansy’s lore; and little questing bees’

Strange, sweet biographies.

 

Who makes a garden plans beyond his knowing,

Old roads are lost, old dwellings have their day;

And he himself, far summoned, passes hence

An unfamiliar way;—

But lo, he has not perished with his going;

For year by year as April’s heart is stirred,

Spring after punctual Spring,

Across the little acre’s wintry gray

Comes, slowly traced, an old authentic word

In radiant lettering:

A shining script of tendril, vibe, and whorl,

New green, faint rose, clear lavender and pearl,

Petal by delicate petal, leaf by leaf…

As though his own hand from the Mystery

Wrote, for all the earth to see, upon a fadeless beauteous scroll, his brief

For immortality.

 

In this poem ‘brief’ refers to a written summary of facts to support a case.

Marie Magdalene

Forgiven. Daniel F. Gerhatz.

 

Marie Magdalene

George Herbert, 1633

 

When blessed Marie wip’d her Savior’s feet,

(Whose precepts she had trampled on before)

And wore them for a jewel on her head,

Showing his steps should be the street

Wherein she thenceforth evermore

With pensive humbleness would live and tread:

 

She, being stain’d her self, why did she strive

To make him clean, who could not be defil’d?

Why kept she not her tears for her own faults,

And not his feet? Though we could dive

In tears like seas, our sins are pil’d

Deeper than they, in words, and works, and thoughts.

 

Dear soul, she knew who did vouchsafe and deign

To bear her filth; and that her sins did dash

Ev’n God himself: wherefore she was not lothe,

As she had brought wherewith to stain,

So to bring wherewith to wash:

And yet in washing one, she washed both.

The Lizard

Farm Women at Work. Georges Seurat.

The Lizard

Samantha Little, 2010

 

A glitt’ring beetle is grasped in his wide grin—

A rich prize for future feeding,

And his eye of shifting amber, with its twin,

Watches the girl who is weeding.

 

” It is a silly quatrain, but the beetle shone like polished ebony in the afternoon sun, a lizard’s mouth does look ridiculously like a smile, and this lizard’s hazel gaze was particularly penetrating as he hurried along the garden bed I was preparing for tomatoes.”—from a journal entry dated November 15, 2010.

If I Have Made, My Lady, Intricate

Portrait of the Artist Painting His Wife. Thomas Sully. 1810.

 

If I Have Made, My Lady, Intricate

E. E. Cummings

 

If I have made, my lady, intricate

imperfect various things chiefly which wrong

your eyes (frailer than most deep dreams are frail)

songs less firm than your body’s whitest song

upon my mind—if I have failed to snare

the glance too shy—if through my singing slips

the very skilful strangeness of your smile

the keen primeval silence of your hair

 

—let the world say “his most wise music stole

nothing from death”—

you will only create

(who are so perfectly alive) my shame:

lady whose profound and fragile lips

the sweet small clumsy feet of April came

 

into the ragged meadow of my soul.

 

Both E. E. Cummings and Thomas Sully attempt to capture in their art the beauty of the woman they love.

The Soldier

Flanders. Otto Dix.

 

The Soldier

Rupert Brooke

 

If I should die, think only this of me:

That there’s some corner of a foreign field

That is forever England. There shall be

In that rich earth a richer dust concealed;

A dust whom England bore, shaped, made aware,

Gave, once, her flowers to love, her ways to roam,

A body of England’s, breathing English air,

Washed by the rivers, blest by suns of home.

 

And think, this heart, all evil shed away,

A pulse in the eternal mind, no less,

Gives somewhere back the thoughts of England given;

Her sights and sounds; dreams happy as her day;

And laughter, learnt of friends; and gentleness,

In hearts at peace, under an English heaven.

 

Rupert Chawner Brooke was already a famous poet when he became a symbol in England of the talented youth who lost their lives during World War I.

Musée des Beaux Arts

The Fall of Icarus. Pieter Bruegel the Elder. 1558.

 

Musée des Beaux Arts

W.H. Auden, 1938

 

About suffering they were never wrong,

The old Masters: how well they understood

Its human position: how it takes place

While someone else is eating or opening a window or just walking dully along;

How, when the aged are reverently, passionately waiting

For the miraculous birth, there always must be

Children who did not specially want it to happen, skating

On a pond at the edge of the wood:

They never forgot

That even the dreadful martyrdom must run its course

Anyhow in a corner, some untidy spot

Where the dogs go on with their doggy life and the torturer’s horse

Scratches its innocent behind on a tree.

 

In Brueghel’s Icarus, for instance: how everything turns away

Quite leisurely from the disaster; the ploughman may

Have heard the splash, the forsaken cry,

But for him it was not an important failure; the sun shone

As it had to on the white legs disappearing into the green

Water, and the expensive delicate ship that must have seen

Something amazing, a boy falling out of the sky,

Had somewhere to get to and sailed calmly on.

 

The poem’s name is French for “Museum of Fine Atrs.” Besides the direct reference to Brueghel’s painting of the fall of Icarus, there are references to other paintings by the same artist—”The Census at Bethlehem” (“the miraculous birth,” “children… skating”) and “The Massacre of the Innocents” (“the dreadful martyrdom”).

The Beautiful Night

Woman on a Path by a Cottage. John Atkinson Grimshaw.

 

The Beautiful Night

Johann Wolfgang von Goethe

 

Now I leave this cottage lowly,

Where my love hath made her home,

And with silent footsteps slowly

Through the darksome forest roam.

Luna breaks through oaks and bushes,

Zephyr hastes her steps to meet,

And the waving birch-tree blushes,

Scattering round her incense sweet.

Grateful are the cooling breezes

Of this beauteous summer night,

Here is felt the charm that pleases,

And that gives the soul delight.

Boundless is my joy; yet, Heaven,

Willingly I’d leave to thee

Thousand such nights, were one given

By my maiden loved to me!

A Sick Bed

 

A Sick Bed

Samantha Little, 2010

 

The leaves of the avocado dance

In tremulous pattern across the cotton expanse of my lap

To the lilt of a violin romance.

 

My old Noritake with the saucer chipped

Holds an amber treasure of ginger tea which, childish, I have,

In admiration of its tints, not sipped.

 

Leaves dancing to a Beethoven symphony—

If it were not for this feverish headache I would not mind

Lying in bed, admiring ginger tea.

 

This poem is taken from life. Illness often presents a mixed blessing; although we suffer such symptoms as headaches and sore throats, lying abed provides an opportunity to be still and reflective.

Graces for Children

The Prayer Before Meal. Jean-Baptiste-Simeon Chardin. 1740.

 

Graces for Children

Robert Herrick

 

What God gives, and what we take,

‘Tis a gift for Christ, His sake:

Be the meal of beans and peas,

God be thanked for those and these:

Have we flesh, or have we fish,

All are fragments from His dish.

He His Church save, and the king;

And our peace here, like a spring,

Make it ever flourishing.

Jordan [I]

The Church of Greville. Jean-François Millet.

 

Jordan [I]

George Herbert

 

Who says that fictions only and false hair

Become a verse? Is there in truth no beauty?

Is all good structure in a winding stair?

May no lines pass, except they do their duty

Not to a true, but painted chair?

 

Is it not verse, except enchanted groves

And sudden arbors shadow coarse-spun lines?

Must purling streams refresh a lover’s loves?

Must all be veil’d, while he that reads divines,

Catching the sense at two removes?

 

Shepherds are honest people; let them sing:

Riddle who list, for me, and pull for Prime:

I envy no man’s nightingale or spring;

Nor let them punish me with loss of rhyme,

Who plainly say, My God, My King.

 

Metaphysical poet George Herbert questions the idea that poetry must be a beautiful fiction—as C.S. Lewis phrased it, “breathing lies through silver.” The stanzas Herbert writes in honor of his God find their poetic beauty in truth and directness. Compare and contrast this poem with the Emily Dickinson poem that begins “Tell all the Truth but tell it slant,” featured yesterday on Wrestle with the Angel.