In Preparation for Life

Preparation for Life 

In preparation for this wonderful life

I wish to send to you 

a cup of gentle tidings

that will comfort through and through.

Remember your uniqueness,

that God's Blessings are in you,

and use those gifts to be the one

who uplifts humanity true. 

© Jeanne I. Lakatos

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

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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.

Sydney Owenson (Lady Morgan): 19th Century Revolutionary

Sydney Owenson sheds light on the status of the common man and woman in mid-nineteenth century Ireland and incorporates semiotic structures within her works to communicate with her readers the various discrepancies in legislation, particularly the Act of Union 1801, decades after its enactment. Although inequity in governmental legislation exists internationally, by 1825, the imbalance within the legislative structures is unacceptable to intelligent people associated with the British or the Irish aristocracy along with the increasing numbers of female writers and readers.

For example, in the preface of her essay entitled, Absenteeism, she highlights the need for both the English and the Irish to be mindful of their patriotic responsibilities:

Notwithstanding the intense interest which is felt throughout all England concerning Ireland and Irish affairs, notwithstanding the frequent debates in parliament, and more frequent pamphlets and volumes published on points of Irish politics and economy, the prevailing ignorance on these subjects still operates powerfully in maintaining prejudices the most unfounded and the most fatal, and in retarding those measures of wisdom and of justice without which Ireland can never be happy; or the British Empire secure. [1]

In this statement, Owenson demonstrates commonality between the authority, England, and the respective community of Ireland, as she begins with the phrase, ‘notwithstanding the intense interest which is felt…’ Thus, she engages in the use of negative phraseology linked with passive voice to unite the divergent intentions of England and Ireland.

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[1] Sydney Owenson (Lady Morgan), Absenteeism, (London: Henry Colburn, 1825) pp. ix and x. For future reference within this study, the work will be cited as Abs.

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

Sydney Owenson (Lady Morgan) and Self-Actualization

General concepts from my book: 

Sydney Owenson acknowledges the spiritual connection between humanity, nature, and God's law, a common theme occurring in Goethe’s works. In one of his conversations with Johann Peter Eckermann, he explains:

Freedom consists not in refusing to recognize anything above us, but in respecting something which is above us; for, by respecting it, we raise ourselves to it, and, by our very acknowledgment, prove that we bear within ourselves what is higher, and are worthy to be on a level with it. [1]

In response to Geothe then, Owenson incorporates the Romantic concept of God’s influence on humanity’s intellectual actions in conjunction with natural law while she introduces the reality of political and societal constraints through her characters' struggles with self-awareness. Through this conflict, Owenson personifies the dichotomous nature of glory in which her birth nation, Ireland, struggles with true autonomy and its native glór* to be heard.

*Glór is 'voice' in Irish Gaeilge.

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[1] Johann Goethe, quoted in Conversations of Goethe with Johann Peter Eckermann, translated by John Oxennford, edited by J.K. Moorhead (New York: Da Capo Press, 1998), p. 157.

Finding the Way

                 

The lovely pathway that I walked in Castleknock, Ireland 

from my hotel to the bus stop to catch the bus to Dublin.

Finding the Way

As we walk along life's path, 

eventually, we acknowledge

 that creative ground which supports our steps. 

Longing to find the way, 

we clear the path of debris, 

 as we accommodate His Divine footsteps

 that gently lead us forward.

 Fortitude emerges with the recognition

 that we have the power to

 adjust, adapt, attempt, achieve, affect.  

We move toward the goal. 

We make a difference.

© Jeanne I. Lakatos

To hear me recite this verse, just click HERE.

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. 

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