The Wedding Ballad of Lottie and Paul

A bizarre ballad in honor of Sarah, who must attend many weddings this year, and Katie, who set the fork on fire.

There was once was a lass named Lottie,
Who thought to marry a lad named Paul.
And though ‘twas not true, I’m sure they believed
That the other was the fairest of all.

So one spring day, as the allergens flew
O’er one’s head, like confetti Hell sent,
The lass named Lottie did marry the lad name Paul
In a modest, but pretty, small event.

The bride didn’t trip, and the groom didn’t stutter,
Nor dumb jokes did the minister make.
When the osculation was complete, they strode down the aisle
Their portraits immediately to take.

Then a fatal mistake did Paul and Lottie make,
As they wrangled their cousins and kin,
For though banishing their guests to a decorative hall,
No food nor drink did they give them.

Not a lick of liquid, nor a crumb of bread,
Could they find, their appetites to curb,
Save for the cake, that most sacred dessert,
And that they could not disturb.

So they stared at the plastic cutlery,
And gazed at the tea candles’ sparks
As the hour waned on, the guests had no choice
But to begin melting the forks.

This did amuse them for quite some time,
Holding forks to the flame to admire.
As the plastic did wither, their amusement did grow,
Until the tablecloth soon caught on fire.

Take thee then a warning from Lottie and Paul,
And give your guests food while they wait.
Or else forks will burn, and the venue too
And you’ll be out quite a deposit.

The Writer’s Quandary

This poem sums up what forms my writer’s block most of the time when I’m creating stories and poems.  I hesitate because I worry my work isn’t novel, special, or worthwhile.  Instead of pushing my limits, I am paralyzed by the idea that someone else can write my thoughts better than me, tell my stories more creatively.  Or even worse—has already penned and published my idea that I imagine is so unique.

“The Writer’s Quandary”

Have all the poems been written?

Has every story been told?

Are all the metaphors spoken,

And are all the similes old?

 

Can I add to mankind’s canon?

Can I make a new connection?

Or am I merely an echo,

A well-traveled intersection?

 

Am I even the first to have

Thought this, wondering what remains?

I doubt it, yet I continue:

For many great songs have refrains.

 

And perhaps I can add a gem

Of value through the work I do,

Whether repeating a truth once

More or sharing something that’s new.


In this age of ever-multiplying information, is there anything left to be added?  I’ll argue that no matter what, we can always keep asking questions and searching for answers, which is what I love to do…And perhaps that pursuit is not limited to research papers and essays, like I so often assume.  Asking questions and finding answers is one avenue where creative writing, from stories to plays to poems, can also expand our knowledge and our understanding of the world and each other.

Photo credit: Photo by Pixabay from Canva.com

The Beginning, Again

How far the emptiness seems to stretch before me,
Although not nothingness, for I see the days and weeks ahead,
Peering into their empty shells, without form
Passing through the void of the coming year.
Yet, I wouldn’t have it any other way.

Never fear, this is just my new calendar,
Empty, yes, but not for long, soon to be full of
Wonders that will happen this coming year; I hope.

Yesterday’s deeds are crossed out, and new
Events are written in – a sortie soon to the symphony,
A work thing in February, birthdays, and a trip, as
Round the sun again we go.

I Have Expensive Taste

I have expensive taste – in some things,
but not in others. I’ve found
that most important to me
is the person who’ll be my company.

If it came to it, I’d choose to stand
in line with you. However long
the wait, it’d be a better home
than fireworks and music for me alone.

What I remember most about that eve
isn’t the performance itself. Though
it was lovely, it would mean much less
without you in that suit, and me in that dress.

I have expensive taste – in company,
in time shared. Remember
the museum? It was our laughter and light
that brought those paintings to life.

Rise and Fall of Rain

Rain is one of my favorite themes for poems.  Consequently, a small portion of my poetry collection is dedicated to rain and its different aspects that I’ve noticed and enjoy.  Perhaps inspired by my recent nighttime driving in the rain, I decided to dig these up and share one of them today.  This particular poem focuses on the onomatopoeic quality of rain.

“Rise and Fall of Rain”

Tap, tap, tap at the back door.

Slap, slap, slap it goes again.

Rap, rap, rap a growing din.

Crack, crack, crack—open the door.

Whoosh, crash, bang there is a roar.

Of rushing rainy torrents pounding,

Lightning cracks, and thunder sounding,

Then the rush recedes to dribble,

Pitter, patter, then to trickle.

By and By

Mature we rest in natural mooring,

By a stream, dirt and water mingling;

Boughs cumbered with clinging moss, often sighing:

Memories of darkened wood, time breaking.

Neighbors are gone, felled by axe and age,

Leaving impressions on nearby earthage;

But in their shadow grow new tender leaves,

sunward rising, growing from what below lies.

And with each morn – dew returns, and we find

Solace from broken trunk, doleful mind:

Like salve that succors the green leaf tender

Against sun that would it poorer render,

And with relieved voice windy branches cry,

in hope of a better dawn by and by.

Two Variations on a Theme Called “Song”

“Two Variations on a Theme Called ‘Song,'” using the golden shovel technique.

In the golden shovel poetry form, poets take a line or lines from another poem and make each word from this line the last word of each line in their new poem, using the words in order.  So, if you read the last word of every line in the new poem, you will be able to figure out the line (or lines) of the original poem.  The result is often a very different poem, but this poetic form can also be a challenging way to build on the original poem’s themes from a new angle.  Perhaps if I dabble a bit more, I can achieve this level of technique, but for now, I will be satisfied with a totally unrelated golden shovel pair of poems.

 

Variation 1

Grasping my keys, I go,

Buckle myself in and

Twist the key, hear it catch,

A thrum, then off on a

Night quest—uphill, falling,

Each car winks like a star.

 

Variation 2

I wish that I could tell

Who just recognized me.

It seems no matter where

I go, they know me all

From one time we met—past

Maybe three or four years?

I forgot who they are.

 

Note: If you decide to try your hand at writing a golden shovel poem, please share it in the comments.  I would love to read what you write!

The Thing He Thought He Left Behind

 

Spine-tingling,

With humid heaving,

Softly growling,

Now loudly howling

Is the Thing he left behind.

Story-trusting,

Musket-wielding,

A youth in part,

But with a grown-up heart:

He made a vow to kill its kind.

 

Rifle raising,

Muzzle blazing,

Now reloading,

Then un-loading,

A silent corpse he left behind.

 

Hip-hip-hooraying

And hand upraising,

The boy turned about

And went grinning to his house,

While the Thing went out of mind.

 

Decades passing,

Then the boy, he,

Like Ulysses, traveled home,

And, waiting for him there

Was the thing he left behind.

Contemplation on “Dover Beach”

Dover Beach has served many purposes.  According to a BBC News Magazine article, this natural fortification once repulsed Julius Caesar, once welcomed returning royalty, once received foreign dignitaries, and now stands as a symbol of England (Winterman).  In “Dover Beach” by Matthew Arnold, two people view the famous strand at night, and the speaker of the poem contemplates the beauty of the view and the thoughts about the world, faith, and love which the scene brings to his mind.  “Dover Beach” suggests that love for another is all that people can possess because the world is futile and faith is inconstant.  The poem’s figurative language, diction, and speaker combine to support this theme.

To begin with, Arnold demonstrates the futility of the world when he utilizes figurative language to contrast the first and final stanzas.  The first stanza is full of assonance, consonance, and alliteration which paint a mysterious, dark, calm, and beautiful scene.  This scene represents the “land of dreams” which seems to lie before the speaker and the audience (30-31).  The short i sounds of words like “glimmering” (5) and “window” (6) create a quiet mood which the repeated s sounds of “is” (2), “cliffs” (4), and “cease” (12) heighten.  In contrast to this lovely scene, the speaker thrusts upon the audience the reality of the world in the final stanza.  Like the first stanza, the last one contains assonance, consonance, and alliteration, but the repeated vowels and consonants in this stanza create ugly sounds.  For example, the recurring p and t sounds of “help for pain” (34), “plain” (35), “swept” (36), “let” (29), and “certitude” (34) produce a contemptuous tone, for the speaker seems to be spitting out the words.  The repetition of “nor” in the middle of the last stanza pounds into the reader the truth about everything the world cannot provide (33-34).  Arnold further emphasizes this point by using alliteration to connect “neither” (33) and “nor” (33-34).  Finally, the onomatopoeia of “clash” (37) and harsh words such as “darkling plain” (35), “confused alarms” (36), and “ignorant armies” (37) evoke a picture of chaotic danger which starkly contrasts the calm beauty of the first stanza.  This contrast reveals how futile the world is by showing how the world’s promises compare to reality.

Dover Castle

Within the central section of the poem, the speaker continues to demonstrate the futility of the world while also discussing the inconstancy of faith.  One powerful way in which the speaker covers these themes is by his use of diction.  “Faith” in this poem denotes the general concept of belief, not just religion, for Arnold wrote the poem during the 19th century, which was a time of growing skepticism.  The word “sea” needs careful analysis because it is rather ambiguous, and looking into its denotation and connotation gives insight into the poem.  One common denotation of “sea” is a body of saltwater.  Because of this denotation, the comparison of the ebb and flow of the Aegean to the ebb and flow of human misery becomes even more powerful, for the salty seawater can symbolize human tears (15-20).  The sea thus becomes a symbol of human misery and reminds the audience that the world cannot provide joy or happiness.  While “sea” has multiple denotations and connotations, its most important connotation comes from the poem itself.  After the speaker metaphorically compares the sea to faith, the sea becomes intertwined with the concept of faith, and the natural ebb and flow of the tide represents how the speaker perceives faith to be inconstant.

Matthew Arnold

While the speaker’s views of the pointlessness of the world and the unreliability of faith come from his own observations, the speaker’s motivation for rejecting these and calling the audience to “be true” derives from the nature of the speaker (29).  The speaker of the poem is a person who is looking from a window at Dover Beach with his or her love.  Although the poem does not explicitly state whether the speaker is a man or a woman, the tone seems to be that of a man.  The speaker is well-educated, for he mentions Sophocles’ thoughts on the ebb and flow of the Aegean Sea.  Additionally, the speaker appears to be older or more experienced than his love, for he speaks in an authoritative and instructive manner, saying “Come to the window” (6) and “Listen!” (9).  In the first stanzas, the speaker seems to be a very thoughtful person who contemplates the meaning of life and the world and appreciates the beauty of the sea.  In the final stanza, the speaker suddenly becomes passionate and exhorts his love that they “be true / To one another” (29-30).  As the speaker lists what the world cannot give him, he seems enraged, for his words become a tirade against the world and its deceptive promises of happiness.

Throughout “Dover Beach,” Matthew Arnold uses figurative language, diction, and the character of the speaker to discuss the world’s futility, faith’s inconstancy, and love’s importance.  The poem indicates that only love is reliable.  However, though the world cannot satisfy human desire and often disappoints dreams, this should not lead people to reject the world as a lie.  Neither should people judge the reliability of faith on the number of people who have it; just because the number of humans who have belief changes does not mean that faith itself is inconstant.  Most importantly, if the speaker and his love base their world on each other, then they will have to trust each other to be true.  If faith is inconstant as the poem suggests, then how can love—which relies on faith—be reliable?  Only when the speaker regains his faith will he be able to enjoy love and “be true” to the woman he loves (29).  Only when the speaker realizes there is more to the world than his love will he be able to answer his own call “Ah, love, let us be true / To one another!” (29-30).

(Note: This is an essay I wrote for a freshman composition class several years ago, with a few minor modifications. Also, here is a link to “Dover Beach” in case you want to read the poem yourself.)

Works Cited

Arnold, Matthew.  “Dover Beach.”  Poetry Foundation,             http://www.poetryfoundation.org/poems/43588/dover-beach.

Winterman, Denise.  “White Cliffs of Dover: Why Are They So Important to the British?”  BBC News Magazine, 29 Aug. 2012, http://www.bbc.com/news/magazine-19343382.