A Sonnet: Four Soles, Soulful Foursome

This precious photo displays two young boys, one holding the reigns, one holding a beloved dog, on a cart, pulled by a devoted mule. As another example of ekphrasis, the photo is one on which I've based my sonnet, written in a Spenserian Sonnet format from the 16th century English poet, Edmund Spenser.

For fun, click onto: Billy Collins former United States Poet Laureate, to read his satirical view of sonnets, cleverly entitled, "Sonnet."

Four Soles,  Soulful Foursome

Idyllically, they travel with an aim

and quickly learn that truth rests in a friend, 

for surely, they’ll discover life’s no game. 

A splendid road will definitely bend. 

These traveling souls of four know not of end, 

for they rely on trusting gifts of love: 

one pulls with strength, one’s job is to attend: 

two brothers with one dog, blessed from above 

with dreams conjoined like wings that lift the dove. 

Four souls of spirit and vitality

advance with might and shared awareness of

their vision for determined liberty.

A humble vessel pulled by four strong soles,

transporting dreams, fulfilling simple goals.

© Jeanne I. Lakatos 

Sydney Owenson's 'The Wild Irish Girl' and Revolutionary Thought

Sydney Owenson’s national tales and narrative poetry echo those of the American colonists in regard to humanity’s birth right of freedom, particularly in the way her British characters interact with Irish characters. Owenson sees the Irish used as scapegoats for England’s perceived imperial failure and, through her writing, takes a stand against the British. While she leads her fellow country men and women to awareness of individual and national pride, she also sheds light upon the conditions of the nineteenth century female, that of subjugation to male dominance. 

Particularly in The Wild Irish Girl, Owenson reveals eighteenth century societal dictates present within the Irish culture. Her inclusion of Irish speech involves the ‘wild’ Irish instructing the British aristocracy on truths evident to the Irish but virtually unknown by the intruding British. For example, the main female character’s name is Glorvina, the word glor in Irish, meaning voice. In one of her initial conversations with the British character, Horatio, she explains the significance of Irish music: 

This susceptibility to the influence of my country’s music, discovered itself in a period of existence, when no associating sentiment of the heart could have called it into being; for I have often wept in convulsive emotion at an air before the sad story it accompanied was understood: but now- now- that feeling is matured, and understanding awakened. Oh! You cannot judge-cannot feel- for you have no national music; and your country is the happiest under heaven! [1]

Audaciously, Owenson configures historical and linguistic elements of Ireland within this foundational national tale and juxtaposes these elements with those of Great Britain through her two main characters, illustrating a cultural fantasy of an Anglo-Irish coalition. 

_____________________________________________________

[1] Sydney Owenson, The Wild Irish Girl, Boston: Joseph Greenleaf, 1808, p. 92.

Answer Revealed

 

Answer Revealed

Her wings flutter sweetly

propelling her up, down, and through 

the verdant glen, searching for the one 

that will bring her anticipated joy.

Her silence allows the observer 

 to focus on her brilliance, 

revealing the vivid colors

of this solitary creature of God: 

tenacious, full of patience and hope.

Suddenly, she discovers the one, 

bourgeoning with enlightenment: 

the answer to her Prayer, 

so she delicately tastes the Joy, 

thankful that her search 

led her to this moment 

in God's Time.

© Jeanne I. Lakatos

Phonology

I took this photo of Sydney Owenson's plaque on Kildare Street in Dublin a few years ago.

On the topic of phonology or phonetics, the study of the way humans combine sounds to create linguistic patterns, I give you a brief excerpt from my book: Innovations in Rhetoric in the Writing of Sydney Swenson (Lady Morgan, 1781-1859) and below that, a poem I wrote entitled, Cognizance. Enjoy! 

Steven Pinker discusses the impact of phonology and semantics as individuals experience sensory connections in their formation of new concepts:    

The phonemes and syllables in a word contact their counterparts in memory piecemeal, more and more of them finding a match as the milliseconds tick by. As soon as all the pieces match some entry, the irregular form linked to the entry is fetched and shunted to the vocal tract. While the lookup is in progress, the inhibitory signal sent to the rule box gets stronger and stronger, and when all goes well, the rule is braked to a halt. [1]

At this point, the individual synapses in the brain connect the familiar sound with a specific memory. 

---

[1] Steven Pinker, Words and Rules: The Ingredients of Language, (New York: Harper, 2011), p. 130.

*****************************************************************

Cognizance (Alliterative Antics)

Jung's is collective

containing collaborative

but chaotic compositions

carefully calculated

to create clear cut

caricatures of cranial

cacophonies in crazy

and occasionally corny

creatures who care

about causes and effects.

But mine is coincidental, 

caught between 

casual and coiffure

occasionally quaint,

consistent and tranquil

cautious,  concerned

a creatively concocted 

course of action, 

convoking acquaintances

to collaborate and affect.

© Jeanne I. Lakatos

(To hear my reading of this poem, please click HERE.)

Singing the "Blues"

Every year, when my Siberian irises bloom, thoughts of my Dad return to me. Below is a poem about the irises that he brought to me many years ago. He commented, "They're your flower, Jeanne Iris. The blue matches the blue in your eyes and they bear your name." This was a significant statement, for my genetic 'flaw' of blue eyes had always made me feel like an outsider, for everyone else in my immediate family has brown eyes. 

Blue Irises

My Dad brought me some irises

one day.

I planted them,
and when 'moving day' arrived,

those bulbs were dug up
and brought along for the ride.

Now, in late May, they appear

bearing memories of his smiles 

more vividly than the previous year,

keeping his beautiful memory alive.

As I strive to achieve daily goals,

his voice rings clearly in my ear:

"You can be anything you want to be, my dear...

if you just persevere."  

Rest in Peace, Dad. 

© Jeanne I. Lakatos

***************************************************************

The poem below describes the first thing I experience in the morning. One of my favorite times of a day is that moment when I first awaken, sometimes still dreaming, and I look out my window to a lovely little forest, night animals still calling to their mates, no human sound outdoors at all. It's just before dawn, and just after that 'darkest hour,' and for only a few minutes, everything is blue. 

Just Before Dawn (The Blue)
Eyes open slowly.
Still, I walk along that lovely beach
and glance up to see a small village.

That same, intriguing dream,
now, it fades away
with the early morning mist.
 I feel a gentle, cool breeze
waft across my face
and turn my head
toward the choir of crickets,
still calling to their mates.

An owl wings its way
midst entangled branches,
eerily hooting through the blue.
My gaze reaches the maple tree
standing tall in this tableau
all blue, shades of blue, no other color
but blue... everywhere!

Leaves, tree trunks, even the lone deer,

all blue.

It's no longer evening, not yet dawn.
Sky and sea are one magic hue.
The song of one bird greets me:
a prayer for the new day
in this tranquil moment of
blue.

© Jeanne I. Lakatos

To hear me read these poems, please click HERE.

Dante Alighieri's "Paradiso"

Photo from Google Images

http://kidslink.bo.cnr.it/ic6-bo/scuolainospedale/num6-2/divcom/Image8.jpg

Dante Alighieri’s Paradiso

Today, I’ve placed parallel posts on my blogs with both exploring Dante Alighieri’s final book of The Divine Comedy: Paradiso.

Spheres and circularity dominate the theme of this epic poem. Dante often even imitates the shape of the circle with his words. The Pilgrim and guide enter heaven at the convergence of four circles with three crosses. (This use of seven symbols refers to the seven virtues: 4 cardinal, 3 theological.) The three crosses could also pertain to the three crosses that we saw at Calvary, which would then lend to the idea of the theological. 

The term "cardinal" comes from the Latin cardo or hinge; therefore, the cardinal virtues (Prudence, Justice, Temperance, and Fortitude) are pivotal to any wise life. In the Old Testament Book of Wisdom, 8:7, we learn that "She [Wisdom] teacheth temperance, and prudence, and justice, and fortitude, which are such things as men can have nothing more profitable in life."
In The Republic, Plato identified these same virtues with societal classes and thus, the very faculties of humanity:

Temperance: produces classes, the farmers and craftsmen, also animal appetites
Fortitude: associated with the warrior class and the spirited element in man
Prudence: associated with rulers and reason
Justice: stands outside the class system and divisions of man, and rules the proper relationship among them.

The theological virtues of Faith, Hope, and Love (charity), indicate a higher level of consciousness and compassion. Lessons that pertain to each of these virtues repeat throughout the Old and New Testament and within more ancient religious precepts. 

Sweet Dreams (Codladh sámh)

  Sweet Dreams

Softly the trees sway

breezes steadily pulsating

plummeting my senses

DEEP DEEp DEep Deep

into a serene, sensual

serenade of sleep

slowly sifting

the sands of 

consciousness

into a sea of dreams

where fantasy releases

the genesis of truth.

© Jeanne I. Lakatos