Bless the Rain

The rain was awful yesterday
Or so I heard some lady say
That struck me, and with deep surprise
Since we depend on all that gray

By rain the maple trees arise
Their thick blue roots absorb those skies
And we, as she, are bless as they
To curse that weather ... never wise 

-jwm

Of the Poem (Parameters and a Brief Note):

Stanza: Quatrain, Rubaiyat
Meter: Tetrameter
Rhyme Scheme: aaba bbcb 

The poem was done in tetrameter (i.e. eight syllables per line). What I like most about the poem’s s structure is that the stanza employed is a Rubaiyat stanza- the rhyme scheme being aaba bbcb (where the ‘b’ of the first stanza becomes the dominate rhyme of the second). It’s a fun form to play around with.

Hey, thanks for stopping by, and I hope you enjoyed it.

Beneath a Starry Gaze

There, just below the moon’s ascent,
Ethereal a figure went-
A silhouette, a dimly shade,
That moved towards him with clear intent.

Though fear in others would have weighed,
He fearless went from where he stayed
To meet that spectral figure dim
That bold approached him unafraid.

That ghostly apparition slim
Through pale-blue moonlight seem’d to swim,
Approaching now with sure design-
Intent specifically on him!

But then, behold! - a sight divine
For what those shadows did confine
Was this: his lovely lady’s sight-
Most beautiful, and yes, sublime.

The two embraced that starry night
Beneath that silver moon so bright
(In silence and in full content)
As stars gazed on them from their height.

-jwm

Of the Poem (Parameters):

Stanza: Quatrain, Rubaiyat
Meter: Tetrameter
Rhyme Scheme: aaba bbcb ccdc dded eeae

Note:

The structure of the poem is modeled off of what I consider to be one of the most gorgeous stanza types to work with, the Rubaiyat.

The Rubaiyat’s rhyme pattern is aaba which- despite the ‘off rhythm’ of the third line- produces and incredible rate of poetic flow. Where two or more stanzas are involved, that rate flow is punctuated, and is awesome.

Wherever there are two or more of these stanzas the rhyme pattern is usually interlocking, so that the ‘b’ of the first stanza (aaba) constitutes the primary rhyme pattern of the second stanza … aaba bbcb, and so on.

You’ll also notice that in this poem the rhyme pattern returns to the initial primary rhythm of the first stanza (aaba bbcb ccdc dded eeae), this was intentional and served as a sort of internal self-closure of the poem- even apart from the storyline itself.

I first came to know this stanza type by reading a Robert Frost poem called, Stopping by Woods on a Snowy Evening. It was a gorgeous, gorgeous poem, and I was compelled to try the style out.

Since my introduction to this form I’ve done a few poems that mimic it, and am working on another one right now.

Now, if you’ve come across this site and have written a poem based on the Rubaiyat structure, please … let me read it: post it in a comments area of mine or, better yet, click on my picture above and friend me on Facebook so that we might correspond over it. I’d be delighted! Meanwhile, let me know what you think of this particular poem above, Beneath a Starry Night.

Stopping by Woods on a Snowy Evening

My daughter and I recently read a great poem written by Robert Frost, entitled: Stopping by Woods on a Snowy Evening. It's an exceedingly impressive work, to say the least: so much complexity contained in so simple a write. My daughter loved it too and essentially took it for a narrative poem. I felt as though the poem had a representative aspect that spoke of the beauty of life (the woods, the snow) and the inevitability of death (sleep), an aspect that Frost may have only inadvertently intended.

The structure of the poem is especially interesting- notice the rhyme scheme below:

Poetic Parameters:
Stanza: quatrain (4 total)
Meter: tetrameter
Rhyme Scheme: aaba bbcb ccdc dddd (similar to a Rubaiyat stanza)


Stopping by Wood on a Snowy Evening

Whose woods these are I think I know.
His house is in the village, though;
He will not see me stopping here
To watch his woods fill up with snow.

My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.

He gives his harness bells a shake
To ask if there is some mistake.
The only other sounds the sweep
Of easy wind and downy flake.

The woods are lovely, dark, and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.


Of the Poem (One of Many Takes):

We find ourselves, as Heidegger might suggest, thrown into an existence that's nothing less than spectacular: there are the trees, the vaulted blue sky, florescent green grass after it rains- an inexhaustible amount of beautiful things. Indeed, the very idea that one is alive- existing- is marvelous in itself. In short, we're surrounded by an incredible, incredible amount of beauty.

All too often, however, we loose ourselves in mundane worldly matters, becoming so obsorbed in sustaining existence that we tend to loose sight of its very beauty, its splendor. Aesthetic passion and attention flees- or at least seems greatly diminished- where social obligations reign. A great majority of times it seems conventional existence is structured to wage war on on the aesthetic heart- "busy, busy, busy" ... "worry, worry, worry" become its mantra, and we seem hypnotized by it to the point that we literally don't take the time out to stop and smell the roses.

On a purely superficial level it seems that Frost would at least have us aware of the conflict between our inherent desire to be one with beauty and the social constrains and obligations that tend to domesticate that desire. It's almost as if the poem has for its inner topic the conflict between freedom and necessity.

The poet's individual yields to that beauty- out of nowhere and just that moment- and takes in the "lovely, dark, and deep" which was laced with snow that was still falling. Necessity then impinged itself upon the moment and called this person's attention "back to reality" and away from beauty's transcendental sway. In the end the individual leaves that snowy encounter.

The point I derive from the poem is that, despite pressing obligations and social demands, we should step outside of our constraints occasionally and take in some of this beauty that surrounds us.