Wholly here in trust of the unknown
A trust wholly impossible to man
So Jesus cried out in his state forlorn
Unknowing and uncertain, he began.
Who can tell us what the cost may be?
Our open eyes may let in bleak despair
Who can say that love’s a refugee?
Our open eyes may see the Light shine where?
How we draw our lifelines sharp and black
When watercolor may be nearer truth.
A puzzle, steel, mechanical, might crack
And leave us helpless , buried in our ruth.
Who has got the courage when alone?
Which of us will roll away the stone?
This is interesting because Meister Eckhart used this phrase in discussing mysticism a long time before Bion used it.
I like it because we are often so caught up in our desires we hardly notice the Other even when listening to them.
'Twas but a reptile passing by. It flew across the deep blue sky Why do reptiles fly so high? I'll love you till I die. "Twas but a cat under the moon. Did you have a silver spoon? Why can't cats all waul in tune? I'll love you very soon 'Twas but a wooden legged man, Carrying a large brass saucepan. Why can't men do what women can? I'll love you better than. Why are adverbs? What are nouns? why do circuses have clowns? I'll love you lying down. Where do dreams go in the day? What game can we adults play? Can you or can you not say? I'll love you,in my way. 'Twas but a verse that seemed so free. It floated over my oak tree. I have eyes but cannot see. I'll love you when I be
The medieval town, with frieze
Of boy scouts from Nagoya? The snow
That came when we wanted it to snow?
Beautiful images? Trying to avoid
Ideas, as in this poem? But we
Go back to them as to a wife, leaving
The mistress we desire? Now they
Will have to believe it
As we believed it. In school
All the thought got combed out:
What was left was like a field.
Shut your eyes, and you can feel it for miles around.
Now open them on a thin vertical path.
It might give us–what?–some flowers soon?
“Like the rhythm in a piece of music, the metre is an underlying structure. Poets often slip in extra feet, or remove them, or change stress patterns around to prevent monotony, like playing rubato. (Sometimes a poem seems to be exploring how far a line can be pushed without losing all connection with the underlying metre.) This means that the discovery of a foot other than an iamb in the middle of what is otherwise iambic, say, does not stop the poem from being iambic; rather the attention ends up lingering at that point, so the word on the different foot ends up more powerful as it has the attention longer. An example of this can be found in Peter Dale’s ‘Half-Light’; he writes “I’m trying not to give another glance. / Lit window thirty years back up that path.” The first line is a perfectly regular iambic pentameter, but the second introduces an extra stress on “Lit”, so that what the speaker’s trying not to be drawn to seems more powerful, perhaps helping us empathise with him when he does look back and “catch her eye an instant””
Note on the word:iamb
A triolet can act as a device
That stops the flood of feeling drowning all
If it embeds a phrase for wiser eyes.
A triolet can act when well contrived
To measure out right feelings in due size
Then we are sheltered from apocalyptic falls
A triolet’s a poem , a rhymed device
To contain the flood of feelings which appalls.