Few pleasures can compare to children’s when they are allowed untrammeled playtime in nature’s kind and pretty places. We should all be so fortunate in Springtime, especially in the springtime of our lives.
By Babylon Creek
Babylon Creek
used to make the
children laugh as it ran
tickling fingers up
their summer-heated shins
and the older folk
chuckle shamefacedly
at its puns and the way
its hilarious licking made
them squirm like
dog-loved kids themselves
Traveling at Speed
When I was just a little tad
And full of zest and vim
I never thought the day would come
When eyesight could grow dim
And hair fall out, and memories
Impossible to keep,
Or that my middle would go soft
Or I would fall asleep
Just trying to sit through the news,
But couldn’t sleep at night,
Get creaky and arthritic
And develop underbite,
But, over and above these things,
No way would I have guessed
The day would pounce so suddenly,
So early. I’m depressed!
Everything is not always as it appears. For good or ill, our first impressions are often quite mistaken, and responding to them with too much speed often means, if not outright failure, at least diminished returns of success.
Take Bonnie and Clyde‘s visit to the Ponder State Bank. Those bank robbing hicks, made famous and a good bit more glamorous than the average two-bit crook by media and public appetites right from the contemporaneous news accounts on down through the Hollywood version of them incarnated as Faye Dunaway and Warren Beatty, were perhaps more prone than most to such snap judgements, given their line of work. Undoubtedly, once they started their career of armed robbery, they weren’t likely to be given any sort of chance to explain themselves or do anything particularly legitimate without being suspect, and clearly they weren’t allowing a leisurely approach in which to assess and evaluate any situation as they approached the end of their road.
So when they showed up in little old Ponder, Texas, hoping to make a full withdrawal of the bank’s funds without having their own account number, it’s little surprise that they weren’t welcomed with open arms. In point of fact, it is a little surprising that they weren’t greeted with firearms, what with the swath they were cutting in those days, and it being Texas and all. Not to mention that, had they checked their information ahead of time to plan the heist, they would have learned in advance that the Ponder bank had gone belly up just previous to their visit, thanks to the Depression. Turned out to be a bust both for the bank and for the troublesome twosome. Irked, whether at their lack of foresight or the bank’s inability to supply them with cash, Ms. Parker and Mr. Barrow just shot the place up a little in that casually friendly sociopathic way of theirs and took to their heels again.
And as anyone who knows the tale of Bonnie Parker and Clyde Barrow knows, that dash didn’t end well for them at all. Perhaps a touch of circumspection and introspection now and again in their lives might have led to a considerably less messy end.
Avoiding hasty conclusions can make quite the difference in the tiniest of things as well.
Take driveway-cleaning.
While I’ve been out in the yard traipsing about and yanking up the occasional weed, I have seen that some are much too lovely to bump off with abandon. After all, a weed is only a wildflower or a self-sown plant that has popped up in an unintended spot. So I tend to leave many such characters alone when I can, hoping that my neighbors won’t be too chagrined at my assembly of oddments growing in weird and unexpected locations in the flowerbeds, lawn and periphery.
I tend to be a little bit more ruthless, admittedly, when it comes to the paths and walkways, not to mention the driveway, because what grows through the cracks there tends to widen the cracks. What widens the cracks, in turn, pushes the stone and concrete farther to each side, and what pushes to the side can in its turn put undue pressure on the house’s adjacent foundation, and what can shift my house is a little more risky than the occasional irritable neighbor shifting my attitude.
So when I saw that where our driveway dovetails with the next door neighbor’s at a shared bit of curb, there was stuff sprouting brazenly in the sun, I headed right on over to give that little interloper a tug and a toss. I would probably have looked especially ridiculous, since I was making quite the determined beeline for it, if I’d been geared up in full cowgirl regalia, but fortunately the only High Noon spur-clanking on the occasion was strictly mental on my part as I headed for a showdown with a measly little weed.
Good thing the driveway is quite as long as it is, because I got mighty close before I could see clearly that this particular one was the very first of our blooming bluebonnets. I’m not certain that weeding out a specimen of the State Flower is a capital offense in Texas, but as a big fan of them I can definitely say that I would have been sorry as a sway-backed mule if I’d killed that pretty little plant. So I thank my lucky stars that I was slow to get there and had time to rethink my approach before that winking blue beauty got cut down in its prime. We should all be so lucky.
Bread for the morning came from five-o’clock ovens fired with passion and streaked with musky, pungent olive oil; the steam rolled out of those great clay caves and up the terraced resin scented hills of vineyards’ cool and shadowed kiss. Inside the chalk-white walls with their gauzy curtains strewn and the brick brown pavers all around worn by pacing wiry dogs and treading cats, the whole countryside slept, immobile, somewhat far retreated in their beds before the wavy rays of fourteen-karat sun-baked into turquoise heat our ceiling of sky.
Farm Land
Few things can match the beauty of
Black soil that’s newly tilled
And redolent of things to come
As soon as March’s chilled
Cold heart has given up his hold
And April’s warmth begun
To set the life-renewing pulse
Of earth under her sun.
Restorative Dreaming
A pensive morning in quiet shade
Of this is inner contentment made
A sip of silence, a moment’s rest
In the garden corner I love the best
With butterflies skimming the border’s blooms
Voile curtains billowing out of rooms
A book of poems upon my lap
Read in short bursts between nap and nap
And the sound of a bicycle coming near
To bring the post of love-letters here
I’d rather recline in this reverent haze
Than waste on reality any days
Now that everyone seems to have the technology to make cheap watches (which I must designate in my heart mere instruments for marking time, not timepieces), I get to wondering whether the beauty of true clockworks will always be preserved or will only serve as curiosities and fodder for art. That precision we take so nonchalantly to be ours is a museum of measurement and the poetry of a mechanism we should keenly regret to lose if we value something more than the rigid math of time, the seamless meeting of Doing and Deadline.
The first time I heard Early Music performed in period-appropriate style I experienced, not surprisingly I suppose, a full mixture of amusement, bemusement, mild horror and deep curiosity. It was in a performance of Claudio Monteverdi’s seminal opera Orfeo at the English National Opera; I was a mere college stripling who had probably not even heard the phrase Early Music at the time let alone known what it might mean, and ‘performance practice’ was in something of a time of transition. Anthony Rolfe Johnson sang the title role with, if I remember properly, a rather nice overall sound, but a straight-tone and senza vibrato style and a strangely stuttering kind of ornamentation that might well have been an authentic recollection of the opera’s original character and an accurate and historically informed version of the way it would have been presented by its composer and first performers. I, having never been taught such things, merely heard sounds quite foreign not only to my ear but to my concept of skilled and artful performance, let alone prettiness. I do remember thinking that either this was all far over my head (entirely possible) or it was a pointless and poor imitation of what the ENO imagined the average amateurish opera company of Monteverdi’s day must have been capable of doing (less likely), or poor Mr. Johnson, who later went on to receive his OBE, just plain wasn’t up to the job despite a naturally pleasant voice.
Years later, I may not be much smarter than the young squirt of those days, but I’m far more experienced and have heard worlds more music, both the great and the terrible and, of course, a massive quantity in between. And I’ve been taught a thing or two about the fine points of what is beautiful and magical when it comes to singing or playing with any amount of vibrato–or none–and the many elements that combine to create tone and color and variety and character in a performance. I’ve learned some useful stuff that changes how I perceive both the level of virtuosity in playing or singing and its aesthetic appeal, two aspects that do not always coincide in my ear, mind and heart but when they do, that combine to create a kind of joy that is virtually unattainable in any other way.
When my husband conducted a production of Orfeo over a quarter century after the first one I’d heard, I had a whole different understanding and appreciation for what the many performers were doing and why the stage director would expect them to do so both from a visual standpoint–training them, along with other coaches, in appropriate ways of moving and posing and gesturing as well as in those of vocal ornamentation, since she is a superb and well-trained Early Music singer herself–and an historically suited musical one. Just as there are countless styles and types of music known to us nowadays, which you can multiply by the number of individual teachers, performers and audience members to get a rough sense of the variety you’ll encounter, there were historical strictures and structures and stylistic trends and ideas that shaped earlier generations (centuries) of music and musicians and listeners, and while some have perhaps remained relatively unchanged since their inception, many more evolved over the ages. Our expectations of music have certainly changed, and our guesses as to how it was first conceived and perceived are only as good as the lines of scholarly inquiry and oral tradition can attempt to make them.
In all, it makes rich fodder indeed for both the ear and the imagination, and I for one am mightily pleased that I have had the opportunity to live a life immersed in all kinds of music and to learn along the way. I still like much of what I heard, whether ignorantly or not, in my younger days, and much of what I like now I learned to love along the way. While my form may be far from historically accurate or artistically impressive, I will still happily bow and curtsey to all the musicians who have shared their gifts with me in my life, and to all of those who work and are inspired to play more, to sing onward.
Daybreak ReturnsFrom the grasslands, from the marshes, from the margins of the moor
Rise up misty ghostly creatures in the pearly light of dawn,
Some mementos, revenants or sylph-like spirits past and gone
To the brink of ancient memory and up to its creaking door,
People whom we, fond, remember or with some frisson of heart,
Those who populate our past, storied as fabled gods and kings,
Filled with magic and wild treasure and a million pretty things
That we wish we might have honored as such value from the start—
So at daybreak they come whispering, returning, silver-grey
Without tarnish in their sterling, as they rise up in our sight
And return to us those memories had fallen into night,
Bringing back that love and loveliness of theirs to present day
On the Hour
I hear a distant clamoring, that clear and golden hammering,
the calling so enamoring me of this hour of day,
That chorus of the chiming bells change-ringing, as their music swells
until no other parallels the news they swing to say,
‘Til every other sound should cease as swiftly as the bells increase,
work stop, hopes rise, hearts fill with peace; the ringing calls that soon
The echo of its chimes will fall where it sang out from wall to wall
in waves of life over us all to tell us it is noon–
No wonder, in this ringing sphere of tonal loveliness I hear,
I sense a sweetness drawing near and beckoning to me
To join the clangor of the song, to strike at every chime and gong
and bell, that each must sing along and set the midday free–
Ring every bronze and silver note, ring brass and gold, and keep afloat
all of earth’s joy–the antidote to death is in this tune–
Ring happiness, ring love and peace; ring out the hour of sweet release;
ring the refrain of this caprice until another noon!
