Reflections: Knowledge

Love: On the love of pure knowledge

If one can state that knowledge rules, why is there still open suppression of knowledge?

Even in our era, where there is the reality of a relatively high, academic achievement potential for anyone and everyone, on a global or international level, active suppression of knowledge still exists. So does the repression of writer's works and the oppression of writers, as well.

Often, knowledge is put down by authority figures, authoritarian rule or even brute force. It is frequently suppressed in many parts of the world, even during this time when there is a demand for extremely high technology, all over the world.

For many generations, knowledge has been kept from thousands of people on a global scale. Many times, certain kinds of knowledge have been kept completely secret. People have been left untaught or uneducated, all over the globe, while the knowledge that they need for basic survival, has been hidden or repressed.

Frequently there have been repeated attempts to prohibit the publication or revelation of knowledge and truth. This is true of the past; it is still happening in the present and will continue to happen in the future.

As a way to compensate, in many parts of the world, knowledge has been accumulated as secret knowledge, because the human perception of what is being taught does not include adequate understanding for appropriate comprehension. If anything, many people are afraid of the power that others have gained through knowledge or the actual knowledge itself.

People with acquired knowledge, are feared by many of those who do know or understand certain concepts or ideas. Knowledge is frequently perceived in terms of negative power and oppression, rather than as a goal to be attained.

There are those who have been taught to exclude knowledge from their consciousness, for whatever reason. 

They are not allowed to give vent to certain kinds of knowledge and thus, knowledge is repressed inwardly, as there is no expression of the awareness of that knowledge allowed, at least not in their  community or society. At times, this knowledge may re-surface, at a later date or take on other forms.

On the other hand, throughout the generations, there have always been those whose quest for pure knowledge has never ceased. Even in times of severe depression or radical oppression, it is pure knowledge that has enabled the survival of the human race.

Real love of knowledge leads one to seek pure knowledge or truth for the ultimate good of human kind. Knowledge should be used rightly, ultimately for the good of humankind and not for evil purposes.

One of the difficulties with respect to the suppression of knowledge lies in the reality that it is the knowledge itself, that is being sought and not the actual source of the knowledge or God, the giver of all pure knowledge.

The solution to this problem lies in seeking God, first. If one seeks God first, He will invariably reveal pure knowledge and truth, but with a difference, namely within the guidelines of His love.

Does the Best Poetry Come From the Heart of the Mind?

Does the best poetry come from the heart of the mind? (to be edited)

Leaders in poetry will confirm the reality that true poetry comes from the heart and soul. Without first having a heart and soul as the source, anything that would come from the mind alone would be meaningless and thus would not be considered to be true poetry. The mind has a role to play in creative writing of poetry, but it is not the original source of a poem.

While there may be those who suggest that this is not true, a genuine poet will only write when really inspired. Very few poets or poetesses will write upon demand, unless there is some element of inspiration included, as it is this inspiration that triggers the desire to write.

In other words, true poetry comes into being, simply because someone or something has touched the heart and soul of a particular person. It is put into an actual writing format of some kind, or penned into words in some manner, simply because the poet or poetess cannot help but write that particular piece of work.

When inspired, he or she may not have inward peace until that particular poem has some kind of written expression, which allows it to be retained and possibly revised at a later date.

It really does not seem to matter what time of day or night it is, when this phenomenon occurs. When inspired, the true poet or poetess will make a sincere and honest effort to save the poetry, in some way. If it is not captured in words immediately, it may just disappear into the wind, so to speak. The idea behind the poetry might be gone and completely lost forever.

With inspiration, writing generally comes about in four distinct stages: poemic, poetic, prosaic and the critique, critical analysis or criticism thereof.

In examining these unique stages of writing, one can begin to comprehend how poetry actually emerges into being, out of what appears to be nothing or absolute nothingness. This might be referred to as a process of emergence or a dimino effect. I will suggest that it is like a very dim light, emerging from what appears to be a void. It gradually becomes a brighter and brighter light, as it works its way out of, or comes through a dark tunnel.

Poetry may be regarded as the second stage in the process of inspirational creative writing.

Let me show you how creative writing and more importantly how poetry itself comes into being.

An example of an inspiration touching the heart and soul, leading to the writing of poetry or other forms of creative writing, might begin with one word, like the word love, as an immediate response of some kind, to someone or something. In itself, the word love, is essentially what could be referred to as a word that is still in its poemic form. It is not yet poetry.

It is more like a precursor of poetry, or essentially a poem-to-be, still in some very early format, which still remains to be penned, because it has not yet been written. This stage precedes the poetic format of writing, which we now know as poetry. It is easily depicted or described. It may be likened to the instantaneous or instinctive reaction of a person to another person, or a person's response to something like chocolate, a pet, flowers, scenery, etc. It is relatively restricted in terms of actual words, as it may be just one simple word. The poemic word then moves to the next stage of development, namely that of the poem.

The poem may be as simple as two words like "Love lives." As the poet or poetess continues to write on inspiration, the poem grows. "Love lives on." The work may be a very short poem, or something which could be expanded upon at a later time or date, in some more structured or unstructured poetic format. "Love lives on forever." It continues to be developed. "Love lives on forever in us."

There may be some inherent rhythm and rhyme added to it, but that is not always necessarily the case.

"Love lives. Love gives."

"Love lives on emerging, like the dawn."

"Love lives on forever and somehow dies never."

The prose writer, taking this and putting it into writing, in his or her own context, demonstrates a prosaic format, which he or she could also develop further at a later date. It might acquire a structure that includes formal sentences and paragraphs, which in turn leads to more clearly developed letters, essays, stories, books, etc.

The creative writing critic can take this a step further, by turning it into a critique, critical analysis or a criticism of what has emerged from the earliest poemic stage.

The bottom line, with respect to discussing all of these four stages, is the reality that a poem has to come from somewhere, in order to come into actual being. My suggestion is that true poetry only comes from the heart and soul, not from the mind alone. Like a dimino, when written, this heart and soul poetry will stand the test of time, simply because it is true poetry. Any mind can attest to that.

There is one after thought that might be taken into consideration as well. Who really divides a person's being into segments? Is it not a reality that the heart, soul and mind are actually one, irregardless of how any debate tries to separate the three, as the source of anything, including poetry?

I Heard a Sigh

I Heard A Sigh

I heard a sigh upon the wind,
"Yes, God is good, but man has sinned."

"Forgive all man," was my reply
And then I heard another sigh.

"Cry out for children everywhere,
Those lost, alone, in deep despair."

The wind, it sighed; it knew I heard,
As if delivered was the word.

Another wind, another day,
The sigh for children seems to stay.

The sigh for love upon the wind;
The sigh to say, "All man has sinned."

The sigh to plead but for God's grace,
In ev'ry era, time and place;

The sigh for children, young and old.
Those hurt and hungry, in the cold.

The sigh for peace and end to war;
The sigh goes on forever more.

The sighing wind will come and go
Lest we forget our love to show.

Write a Poem in Six Easy Steps

Thousands of pieces of real poetry, many of them fantastic poems are written by people who think or feel that they don't know how to write poetry.

Writing poetry has become a thriving business internationally and people know how to make money with poetry. Unfortunately, a lot of people do not ever do anything with their work or throw it away, because they do not know what to do with it, they feel that they have not written real poetry or what they have written does not have merit.

Six suggestion to consider when writing poetry:

Begin with a valid concept or a well defined idea. It does not matter what you choose as a topic. The important thing is that when you are inspired, write it down in poetic form however it is revealed to you. Try to write on something that has signification to you and let your poetry reveal its own real meaning.

Focus on the direction in which you see your poetry heading. Believe that your poem has a definite direction; you just don't know what direction it is going yet. Guess what. You don't have to know where it is going. Just follow your inspirational pathway and let it open itself to you.

Gradually begin to develop the content or the body of your poem. What you will find is that the words will come to you in some sort of a pattern, rhythmic or non-rhythmic, that may astound you. Let the pieces fall into place, as they reveal themselves to you. Don't try to understand them or explain them, at this stage in your work. You don't have to understand the poem.! Your job is to write it down. When this starts happening, you will know that you are writing real poetry.

There is room in your poetic expression for reactions, impressions and reflections. You have started your poem, so now respond to what you have written, in your own words. How do you think or feel about what you have written? Does it appear to be coming together in a way that has meaning for you and your life or is it confusing, in some way? That is also a legitimate part of poetry writing. It is all right to sense some confusion, at times. The meaning may be obvious, at a later date.

At this point, you may wish to re-state what your poetry is saying, but put it into a nutshell, so that your poetry remains in focus. Don't re-hash everything that you have written, as that is not necessary. What you do need to do is to find a way to bring the poem to some sort of an appropriate conclusion.

This last part of your poem is important, as your poem does need an ending of some kind. Expand upon the summary that you have already been working on, making the pieces fit together like a jig saw puzzle.

Some poets will write and never re-read any of their work, as what they needed was given to them in the inspiration itself. Regardless of whether or not you chose to re-read or re-write your poetry, recognize the reality that you are a real poet. Don't throw your real poetry away. Assign a date to it and put it somewhere safe.

Which Form of Writing is More Difficult, Poetry or Prose?

Poet, poetaster or prose writer? Is poetry more difficult to write than prose?[

In response to this debate question, I will suggest that it is poetry.

Which form of writing is more difficult to write, poetry or prose? For most people, writing poetry is more difficult than writing prose. The exception to that may be someone gifted as a poet. But, there is the good poet and the not so good poet (poetaster). There is also the good prose writer and the not so good prose writer.

At times, for many people, writing in any form can be difficult. The degree of difficulty in writing, can determine whether the poetry is good poetry or not. The same is true with respect to prose. There is prose that is good prose and that which is not good prose.

For someone who is well educated or a gifted writer, it may be possible to write in either form without difficulty. On the other hand, for someone who always has difficulty in writing anything, it may be hard to write or to write well, in either form.

Which is the more difficult of the two forms of writing?

One might first ask what is the difference between the two different forms of writing? What determines the degree of difficulty? How does one respond to the question or can it only be responded to on a personal or individual plane?

Perhaps by first defining the nature of poetry and prose, it will be possible to discern which is actually the more difficult of the two forms. 

Poetry: By definition what is poetry or what are some of the characteristics of poetry?

Reveals a metrical kind of writing
Takes on some kind of a verse format
Has a concentrated and imaginative focus
May reveal experiential or even playful awareness
Uses descriptive or creative language
Evokes a specific emotional response 
Uses sound and rhythm to enhance the meaning
Often holds some degree of beauty with respect to expression
Idealized, at times

Prose: By definition what it prose or what are some of the characteristics of prose?

Employs different kinds of language
Appears to use the language that is spoken or written daily
Represents a more common literary medium of expression
Offers far greater room for expansion and development
Reveals increased irregularity of format
Allows a greater variety of rhythm and pattern
Has fewer restrictions
Allows increased freedom

In conclusion, I will suggest that for the majority of people, it would appear that it is easier to write in prose, because it is what they are accustomed to speaking or writing from day to day. Ask them to write poetry and at best, it may become poetry written on a poetaster level of writing. That is not always the case. Sometimes those who do write well in prose, can write well in poetry, particularly if has an almost prosaic format.

The writing of poetry or good poetry, is the more difficult of the two forms of writing. Again, there is always the personal preference element that must be considered. There is insight and inspiration that are an important part of what one writes, whether using the form or poetry or prose. This enters into both forms of writing, at least in part. It is much less difficult to write if one has insight or inspiration. Even then, poetry is more difficult to write, particularly good poetry.

Is Free Verse Really Poetry?

Verse libre: On free verse

Is free verse really poetry? In response to this question, there is also the question of whether or not free verse can be boxed into some kind of a category. From the beginning of time, there have been those who have written free verse, but invariably, human beings attempt to find some kind of category or box, that it will fit into. Of course, it is easier to comprehend something, if you can put a label on it. The question becomes one of whether or not free verse can be boxed into some kind of a category.

The French word vers libre signifying free verse, was first used in the nineteenth century to categorize this kind of poetry, as being distinct from what was called an alexandrine line in poetry. (1)

An alexandrine is a line of poetic meter that consists of twelve syllables divided into two equal parts between the sixth and seventh syllable. (2)

Vers libre is an expression used to depict any kind of rhymed or unrhymed verse that is essentially free of restrictions, with respect to metrical structure and rhyme. (3)

Poetry that does not rhyme or have a specific metrical structure is still real poetry and can be referred to as free verse.

In free verse, there is cadence that often replaces the metrical aspect of the poetry. This is not structured and appears to be irregular. This has to do with the use of more common language and music. The use of diction and syntax are still present in free verse. The use of its unique expression enhances the style of writing. (4)

When one reads free verse, it appears to have distinct patterns of its own and will be comprehended by the reader as a whole. (5)

From an analytic perspective, there are three, distinct, kinds of free verse that have been identified, namely free iambic verse, cadenced verse and free verse proper. (6)

Again, one must caution against stating that these are the only kinds of free verse, because free verse is essentially free and thus, beyond any categorization, at least to some degree.

If one goes back to the earliest writings in history, invariably what one will find is the reality that there is a lot of poetry that could be referred to as free verse or free poetry. Some of it rhymes; some of it does not. Some has metrical structure; some does not. Some has a degree of musicality to it; some does not. Some has rhythm; some does not.

With respect to ancient writings and other languages, there is always the question of what is actually lost or gained in translation.

Poets pen that which is given to them. No poet ever has to defend his or her free verse or free poetry, although he or she may feel a need to do so. What is more important is the love of writing poetry.

Freedom in verse and freedom in poetry are liberties that we enjoy as poets and readers of poetry. It is personal preference that decides to some extent what is poetry and what is not poetry or what is considered to be good poetry and what is not.

Free verse is really poetry.

(1) http://education.yahoo.com/reference/encyclopedia/entry?id=17826

(2) http://en.wikipedia.org/wiki/Alexandrine

(3) http://en.wikipedia.org/wiki/Free_verse

(4) Ibid.

(5) Ibid.

(6) Ibid.

Poetry Analysis: "Nothing Gold Can Stay", by Robert Frost

But nothing golden stays: An analysis of “Nothing Gold Can Stay”, by Robert Frost.

The year is 1923 and "Nothing Gold Can stay" rises to publication in "The Yale Review", in the month of October. Robert Frost wins a Pulitzer Prize. The poem is  featured in a novel by S. E. Hinton called "The Outsiders". (1)

What is so remarkable about this piece of poetry?

:”Nothing Gold Can Stay”, by Robert Frost

Nature's first green is gold,
Her hardest hue to hold.
Her early leaf's a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay. (2)

We are all familiar with the saying. "All that glitters is not gold."

Alfred R. Ferguson suggests that there has been a revision in the original piece of poetry and that the following lines were included in the copy of the poem that was sent to George R. Elliott, in March, 1920.

The last three lines are not the same. They read, (3)

In autumn she achieves
A still more golden blaze
But nothing golden stays. (4)

But does it make a difference in the poetry itself? It does, if one is referring to the Garden of Eden and the fall of man. It seems the poem has been rewritten, as the original poem reads,:

Nature's first green is gold,
Her hardest hue to hold.
Her early leaf's a flower;
But only so an hour.
Then leaf subsides to leaf.
In autumn she achieves
A still more golden blaze
But nothing golden stays.

Taking the first five lines of the poem and placing them with the last three of the other version, creates a poem that only refers to nature and not to Eden.

Can a poet take that kind of a liberty with his or her work, as it appears that Robert Frost has done? Is there not something sacred about a poem once it has been written? Should any poet be able to revise his or her poetry, at will? What if it changes the signification or the context of the poetry?

There are five, other copies of the poem still in existence and the nature version appears to be the original piece of poetry.

One might ask why Robert Frost made the change. 

Did he suddenly undergo some kind of a conversion, where he understood the Biblical significance of the felix culpa, or the fall of man, after he had already written this poem, which appears to have been referring only to nature?

It is more than an interesting happenstance. It appears that Frost, after focusing on nature and nature's reality, may have come to understand the Biblical account of creation, as recorded in the Bible.

One can take the meter, the rhythm and the rhyme and play with it forever, but that is not where the elegance and the mystery is realized in this piece of poetry. It is in the sudden, elevated conscious awareness or the manifestation of divine consciousness by the poet, whose personal transition from unbelief to belief is documented, in his own words.

Is it possible to focus on nature and come to understand God? Yes, God can be known, in many ways.

Perhaps in some way, Robert Frost has found the true gold, as the gold that glittered in his original poetry was merely a reflection of God, not God Himself, as revealed in the revision.

(1) http://en.wikipedia.org/wiki/Nothing_Gold_Can_Stay_(poem)

(2) Ibid.

(3) http://www.english.uiuc.edu/maps/poets/a_f/frost/gold.htm

(4) Ibid.

Poetry Analysis: "The World is Not a Conclusion", by Emily Dickinson

Analysis of “The World is Not a Conclusion”, by Emily Dickinson

Emily Dickinson (1830-1886) shows the fragility of her life and world, as well as her hopes and expectations for the afterlife, in the piece of poetry entitled "This World Is Not a Conclusion".

What is a conclusion then, if it is not this world?

Consider the implications of an invisible Species. Note that the word Species has been capitalized by her, possibly implying some kind of divination. It is amusing in one way, because even in our era, we do not consider human beings invisible, even after death. Maybe it is because we have never thought about life and death that way. God might be perceived as invisible.

Life offers us a Mystery, but death does, too. Where man stands in respect to life and death is a riddle, particularly in the realm of unbelief. Christianity allows us to experience a final reconciliation between the human and Divine realms of existence.

One has to marvel at the musicality of this poem with its remarkable rhythm, even while one chuckles at Dickinson's understanding of how the world perceives the human quest for eternal life.

“The World Is Not Conclusion”, by Emily Dickinson (1830-1886)

This World is not conclusion,
A Species stands beyond
Invisible, as Music
But positive, as Sound
It beckons, and it baffles
Philosophy, don't know
And through a Riddle, at the last
Sagacity, must go
to guess it, puzzles scholars
To gain it, Men have borne
Contempt of Generations
and Crucifixion, shown
Faith slips and laughs, and rallies
Blushes, if any see
Plucks at a twig of Evidence
And asks a Vane, the way
Much Gesture, from the pulpit
Strong Hallelujahs roll
Narcotics cannot still the tooth
that nibbles at the soul (1)

There is another version of this poem and it is shorter, as it has only twelve lines. It reveals minor differences, that might lead one to suggest that it is an earlier version.

This world is not a conclusion;
A sequel stands beyond,
Invisible, as music,
But positive, as sound.
It beckons and it baffles;
Philosophies don't know,
And through a riddle, at the last,
Sagacity must go.
To guess it puzzles scholars;
To gain it, men have shown
Contempt of generations,
And crucifixion known. (2)

In this version, from Part Four: "Time and Eternity" LXXXIII, (3) there is the use of the word sequel, instead of the word Species. Philosophies is the word that is used instead of Philosophy. Shown replaces the word borne in line ten. Known replaces shown in the line twelve.

One might ask why there are changes. Are these errors or are they part of editing for publication?

In the longer version, perhaps the poet is blushing, because of her own personal, momentary lapse in faith. This is absent in the shorter version.

Obviously, this poetry has been written by a person seeking answers about immortality. Her insight suggests that humankind is trying to find some kind of an answer and even man's best answer is not really the final Answer. What direction is one to go? The directions of a weather vane? Or a Divine Vane? Some Direction beyond the realm of mere nature?

In some ways, Dickinson appears to realize that even the best answer from the pulpit, does not seem to resolve the pain of her own soul. Her reflection reveals her personal metaphysical perception and her expectations about an afterlife. She is seeking comfort or perhaps the Comforter, who she does not know at this time in her life. She is in pain.

Even in our era, most people do not know that they can pray for the Comforter and be comforted. 

"Ask and it shall be given; seek and ye shall find."

The agony of not knowing about life after death remains a riddle, but a divine Riddle, beyond mere human comprehension.

In some ways, it appears that Dickinson is relating to the Crucifixion of Christ and yet, she does not seem to comprehend, that His suffering has taken place, so that she would not have to suffer. It would seem that Music, which might even be heard by her as Divine Music, on a higher level of consciousness, is her one consolation. To her, sound is a positive, but not a capitalized positive, in both of these versions, so it is probably not a Divine Music. She is still in touch with reality.

Note the words that she has put in capital letters. What she has capitalized is Evidence, Vane, Gesture and Hallelujahs in the second part of this poem. One might suggest that she is wanting to perceive these from a higher level of understanding. Numerous words have been capitalized, in the earlier part of the poem. These include World, Species, Music, Sound, Riddle, Men, Generations and Crucifixion. They could all be summarized as a Mystery.

The wisdom of Emily Dickinson's poetry, can only be understood on one's own level of consciousness. Remember that Darwin's Theory of Evolution appears on the horizon of time, in the year 1864. Dickinson only lived another two years after that, if the dates of her life history are correct.

Did Darwin have a concept of invisible man? Probably not!

Are there any more lines to this poem? Perhaps it is not yet finished? Look the format and how it ends. This poem is not a conclusion either.

(1) http://www.plymouth.org/sermons/sermon-dickinson05.htm

(2) http://www.bartleby.com/113/4083.html

(3) Ibid.

Poetry Analysis: "Among the Multitude", by Walt Whitman

Soul Mate: An Analysis of ‘Among the Multitude” by Walt Whitman (1819-1892): 

Who are these men and women that form the multitude of people, in this remarkable piece of poetry? Where is the poet, at this time? Is he living this event in a real time and place or is this a moment of reverie? Has this been written in the genre of a memoir or a reflection?

This is something only the poet would have been able to tell us, but he cannot. As a result, we may never know. At best, readers of his poetry can only speculate on the circumstances of the event. What is truly remarkable about this piece of poetry is that it could be happening, at any time in history or in any place, which gives the poem an element of timelessness.

Wherever Whitman is, he has an awareness of the reality that there are individual men and women around him. If he is alone, he is alone in a crowd.

Suddenly, the multitude of people fade into the background and the poet becomes aware that there is an unidentified figure who has singled him out of the crowd and is drawing his attention with secret and divine signs of some kind. These signs appear to baffle others.

It does not appear to be happening because of anything he has done. It does appear to be a reality to him, whether or not it is actually happening. What is important is the fact that it is happening in his perception of reality. One wonders if it is some kind of a divine, mysterious happenstance.

Is it an event that is taking place on some higher plane of thought? Are the two people simultaneously interacting and communicating, above the conscious level of the multitude? Is there a crowd of men and women that constitutes the multitude? Were they ever there?

It does not really matter.

One wonders if the secret and divine signs that he perceives are something that only he and the other person can comprehend. Whoever that other person is, does not matter, as the poet does not pay attention to anyone else, although he does go through a long list of others. Perhaps he is looking around to see if it is really him, that the person is singling out.

There may be a third person in this scenario, one who is not baffled by the secret and divine signs. One wonders who this might be, if that is so. If this is a third party, it is not someone that the poet is concerned about as this person knows him.

Or, the poet has suddenly sensed the reality that the person who has revealed himself or herself, knows him, but probably in a higher sense of knowing than as a mere acquaintance. There is something happening on a higher level of consciousness.

He becomes oblivious to the sea of faces around him and suddenly, he goes through his own experience of knowing, too. He recognizes this person as one who loves and sees him or her, as his perfect equal. Maybe in some way, he has found someone who will be his lover. It is almost as if he blushes, at this point in the poem.

He hurriedly clarifies what he intended to state, as if he fears that his intentions might have been misunderstood. It is as if suddenly the encounter has become too personal and he backs off, taking a moment to make his intentions clear.

Perhaps he somehow willed or intended for this other person to discover him by some kind of direction that is not a direction, at all. It is as if he wanted to be found by this person.

It is also as if he expects to meet this person too, in the future. Then, the real process of discovery will begin for him, but in terms of like not love, which may not be appropriate until a later time.

“Among The Multitude”, by Walt Whitman

Among the men and women the multitude
I perceive one picking me out by secret and divine signs,
Acknowledging none else, not parent, wife, husband, brother, child,
Any nearer than I am,
Some are baffled, but that one is not that one knows me.

As lover and perfect equal,
I meant that you should discover me so by faint indirections,
And when I meet you mean to discover you by the like in you. (1)

As one walks through Walt Whitman's poem with him, one can only wonder if he has suddenly become aware of finding his one true soul mate, someone he has begun to know, but only in the sense of being merely an acquaintance, at this point in time. Does this kind of happenstance occur in real life?

There are many different levels of consciousness, each one with the possibility of some kind of interaction and communication between people. It is possible to meet someone this way in real life. It is even more possible to surpass the boundaries of reality and meet someone as a figment of the imagination, in the same way. Perhaps in some sense, this happens in a dream or a vision.

Note that there is no one who is immune to loneliness or being alone. Whitman may have been lonely, at that moment or felt alone. Perhaps in a state of reverie, he was wishing for someone to enter into his world.

If one could take every possible emotion that is expressed in this poem, by the poet or some one else reading his poem, one might suggest that there is a gamut of emotions that range all the way from sorrow to joy. If one could take a photograph of human emotions and pixelate them, each pixel could represent one of them. Looking deeper into this piece of poetry, one can find many different emotions, even a multitude of emotions.

A person who is yearning to have someone in his or her life can be in a state of grieving or sorrow, particularly if there is the loss of a loved one. Perhaps this was the case.

The joy comes with the sudden realization that he is not alone. In fact, he has found the perfect other, in a happenstance that not of his own making. Perhaps in some sense, he has entered into a higher realm of consciousness, where he has encountered the divine or the feminine divine.

Maybe it is just his soul mate, another human being with whom he will interact in the future?

(1) http://www.daypoems.net/poems/1952.html

Poetry Analysis: "The Day is Done", by Henry Wadsworth Longfellow

Write for the masses: "The Day is Done", by Henry Wadsworth Longfellow

Henry Wadsworth Longfellow (1807-1882), in his poem "The Day Is Done", writes as an accomplished poet reaching out to the masses, with his words. Longfellow is an academic, an educator of the masses and a linguist. He writes in a lyric genre with magical musicality inherent in his poetry. (1)

One can sense that Longfellow is weary, at this time and is seeking rest, as he begins to pen this piece of poetry. Perhaps one way that he relaxes after a busy day, is by writing poetry. Many poets to do that.

Relax as you read this poem and enjoy its simplicity, rhythm and rhyme.

“The Day Is Done”, by Henry Wadsworth Longfellow

The day is done, and the darkness
Falls from the wings of Night,
As a feather is wafted downward
From an eagle in his flight.

I see the lights of the village
Gleam through the rain and the mist,
And a feeling of sadness comes o'er me
That my soul cannot resist:

A feeling of sadness and longing,
That is not akin to pain,
And resembles sorrow only
As the mist resembles the rain,

Come and read to me some poem,
Some simple and heartfelt lay,
That shall soothe this restless feeling,
And banish the thoughts of day.

Not from the grand old masters,
Not from the bards sublime,
Whose distant footsteps echo
Through the corridors of Time.

For like strains of martial music,
Their mighty thoughts suggest
Life's endless toil and endeavor;
And to-night I long for rest.

Read from some humbler poet,
Whose songs gushed from his heart,
As showers from the clouds of summer,
Or tears from the eyelids start;

Who through long days of labor,
And nights devoid of ease,
Still heard in his soul the music
Of wonderful melodies.

Such songs have power to quiet
The restless pulse of care,
And come like the benediction
That follows after prayer.

Then read from the treasured volume
The poem of thy choice,
And lend to the rhyme of the poet
The beauty of thy voice.

And the night shall be filled with music,
And the cares, that infest the day,
Shall fold their tents like Arabs,
And silently steal away. (2)

Longfellow may be alone, when he is writing this piece of poetry. It appears that he is tired and sad, as he seems to be seeking solace or comfort, in a poetry reading by the person who he is with, at least in his mind, if there is no one there with him. He may be reflecting on the past or re-living a memory. Perhaps it has to do with the loss of a loved one?

This poem suggests that Longfellow is sitting outside or near a window, on a rainy evening. His momentary reference to the eagle and the feather wafting downward, suggests nature is entering into repose for the pending night, just as he desires to do. The gleaming lights in the distant village are partially obscured by the mist and the rain.

Longfellow expresses sadness and a quiet longing that resembles sorrow, but only in the kind of a relationship that mist has to rain. For him, it has been distanced. He is possibly grieving, but not overwhelmed by sorrow. He is sad and longs to be comforted by someone.

Longfellow, being a person first and then a poet, understands the desire of people to find solace in poetry, even as he seeks solace for himself. He writes comforting poetry for others. The solace he is seeking is not just from the kind of poetry that the poet wants this other person to read to him. There is also comfort to be found in the voice of the reader. Perhaps this is the voice of one who is absent, maybe someone who used to read to him, at some time in the past. 

His brief reference to the grand masters and the bards has to do with his academic career, which he does not appear to disdain. He longs for the simplicity that does not reflect the harsher elements of life, at this particular moment. It may be the kind of poetry that brings healing to the soul, that he prefers to listen to when he is tired, rather than all of the words of human wisdom and power that traverse his academic day. 

Music has a way of doing that and in his own way, perhaps he is writing the lyric for a new song, from his 

own soul.

What he does not want to hear is the pounding of distant drums of war.

There is something in the heart of man that causes him to shy away from the traumatic elements of history, when he desires to rest. At that moment in time, Longfellow clings to the earth and the caretakers of the gardens of life. He retreats to nature to calm his soul. He writes to calm the soul of others, in the same way.

Longfellow desires to hear the thoughts and feelings of a person writing poetry about the simple life, from his or her own heart and soul. It is as if he longs for comforting music, where there is no music, other than in his poetry. He obviously respects the worker in the field, who sings his soul song from the heart and brings tears to another person's eyes.

In his own way, Longfellow manages to turn the darkness and somberness of the dreary evening, into the brightness and gentleness of a summer day, complete with showers. His mood moves to one of rest and relaxation, as he inwardly yearns to hear the sound of the rhyme and hears the beauty in the voice of the reader. His comfort comes as music that is not played, but inwardly heard. Perhaps it is only being written into his poem.

Can one write for the masses as this poet does and not be criticized for doing so? 

Unfortunately, no matter what a poet writes, there will be someone who will criticize his or her work. But, the same is true of prose. Academics will criticize this kind of poetry because of its simplicity. It is too simple! Non-academics will criticize it too, because it has been written by an academic. There is an element of jealousy when that happens, because an academic has a command of his words that a non-academic may never acquire. Little does the non-academic know or comprehend the hours of toil that have gone into obtaining education and trying to teach others. Teaching the masses can be a thankless job, too.

Maybe Longfellow returns to his academic world, as he envisions the Arabs folding their tents and leaving. 

Perhaps his academic world of this particular day had to do with that topic. But, regardless of why the Arabs are in his thoughts, at that moment in time, by writing this piece of poetry, he causes them to vanish, by quietly making reference to them and erasing them from his mind, along with all of the other cares of the day. 

They will disappear into the night. 

Would that life might be so simple!

Write for the masses? Not everyone is able to do so, although there are many who try.

(1) http://en.wikipedia.org/wiki/Henry_Wadsworth_Longfellow

(2) http://poetryfoundation.org/archive/poem.html?id=175166