Read and consider the following poem by Jane Kenyon:
Let the light of late afternoon
shine through chinks in the barn, moving
up the bales as the sun moves down.
Let the cricket take up chafing
as a woman takes up her needles
and her yarn. Let evening come.
Let dew collect on the hoe abandoned
in long grass. Let the stars appear
and the moon disclose her silver horn.
Let the fox go back to its sandy den.
Let the wind die down. Let the shed
go black inside. Let evening come.
To the bottle in the ditch, to the scoop
in the oats, to air in the lung
let evening come.
Let it come, as it will, and don’t
be afraid. God does not leave us
comfortless, so let evening come.
Compare and contrast Paul Lawrence Dunbar's "We Wear the Mask" with Lennon & McCartney's "Eleanor Rigby"
Eleanor Rigby lyricsSongwriters: Mccartney, Paul; Lennon, John;
Ah, look at all the lonely people
Ah, look at all the lonely people
Eleanor Rigby, picks up the rice
In the church where a wedding has been
Lives in a dream
Waits at the window, wearing the face
That she keeps in a jar by the door
Who is it for?
All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?
Father McKenzie, writing the words
of a sermon that no one will hear
No one comes near
Look at him working, darning his socks
In the night when there's nobody there
What does he care?
All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?
Ah, look at all the lonely people
Ah, look at all the lonely people
Eleanor Rigby, died in the church
And was buried along with her name
Nobody came
Father McKenzie, wiping the dirt
From his hands as he walks from the grave
No one was saved
All the lonely people
(Ah, look at all the lonely people)
Where do they all come from?
All the lonely people
(Ah, look at all the lonely people)
Where do they all belong?
Ah, look at all the lonely people
Ah, look at all the lonely people
Eleanor Rigby, picks up the rice
In the church where a wedding has been
Lives in a dream
Waits at the window, wearing the face
That she keeps in a jar by the door
Who is it for?
All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?
Father McKenzie, writing the words
of a sermon that no one will hear
No one comes near
Look at him working, darning his socks
In the night when there's nobody there
What does he care?
All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?
Ah, look at all the lonely people
Ah, look at all the lonely people
Eleanor Rigby, died in the church
And was buried along with her name
Nobody came
Father McKenzie, wiping the dirt
From his hands as he walks from the grave
No one was saved
All the lonely people
(Ah, look at all the lonely people)
Where do they all come from?
All the lonely people
(Ah, look at all the lonely people)
Where do they all belong?
Wild Geese
You do not have to be good.
You do not have to walk on your knees
For a hundred miles through the desert, repenting.
You only have to let the soft animal of your body
love what it loves.
Tell me about despair, yours, and I will tell you mine.
Meanwhile the world goes on.
Meanwhile the sun and the clear pebbles of the rain
are moving across thelandscapes ,
over the prairies and the deep trees,
the mountains and the rivers.
Meanwhile the wild geese, high inthe clean blue air,
are headinghome again.
Whoever you are, no matter how lonely,
the world offers itself to your imagination,
calls to you like the wild geese, harsh and exciting --
over and over announcing your place
in the family of things.
~ Mary Oliver ~
You do not have to walk on your knees
For a hundred miles through the desert, repenting.
You only have to let the soft animal of your body
love what it loves.
Tell me about despair, yours, and I will tell you mine.
Meanwhile the world goes on.
Meanwhile the sun and the clear pebbles of the rain
are moving across the
over the prairies and the deep trees,
the mountains and the rivers.
Meanwhile the wild geese, high in
are heading
Whoever you are, no matter how lonely,
the world offers itself to your imagination,
calls to you like the wild geese, harsh and exciting --
over and over announcing your place
in the family of things.
~ Mary Oliver ~
The Journey
One day you finally knew
what you had to do, and began,
though the voices around you
kept shouting
their bad advice --
though the whole house
began to tremble
and you felt the old tug
at your ankles.
"Mend my life!"
each voice cried.
But you didn't stop.
You knew what you had to do,
though the wind pried
with its stiff fingers
at the very foundations,
though their melancholy
was terrible.
It was already late
enough, and a wild night,
and the road full of fallen
branches and stones.
But little by little,
as you left their voices behind,
the stars began to burn
through the sheets of clouds,
and there was a new voice
which you slowly
recognized as your own,
that kept you company
as you strode deeper and deeper
into the world,
determined to do
the only thing you could do --
determined to save
the only life you could save.
One day you finally knew
what you had to do, and began,
though the voices around you
kept shouting
their bad advice --
though the whole house
began to tremble
and you felt the old tug
at your ankles.
"Mend my life!"
each voice cried.
But you didn't stop.
You knew what you had to do,
though the wind pried
with its stiff fingers
at the very foundations,
though their melancholy
was terrible.
It was already late
enough, and a wild night,
and the road full of fallen
branches and stones.
But little by little,
as you left their voices behind,
the stars began to burn
through the sheets of clouds,
and there was a new voice
which you slowly
recognized as your own,
that kept you company
as you strode deeper and deeper
into the world,
determined to do
the only thing you could do --
determined to save
the only life you could save.
~ Mary Oliver ~
Keeping in mind that a journey is not only literal, but figurative, not for a single day or moment, but a lifetime, consider the following poem by Whitman:
There was a Child went Forth
by Walt Whitman
| THERE was a child went forth every day; | |
| And the first object he look’d upon, that object he became; | |
| And that object became part of him for the day, or a certain part of the day, or for many years, or stretching cycles of years. | |
| The early lilacs became part of this child, | |
| And grass, and white and red morning-glories, and white and red clover, and the song of the phoebe-bird, | 5 |
| And the Third-month lambs, and the sow’s pink-faint litter, and the mare’s foal, and the cow’s calf, | |
| And the noisy brood of the barn-yard, or by the mire of the pond-side, | |
| And the fish suspending themselves so curiously below there—and the beautiful curious liquid, | |
| And the water-plants with their graceful flat heads—all became part of him. | |
| The field-sprouts of Fourth-month and Fifth-month became part of him; | 10 |
| Winter-grain sprouts, and those of the light-yellow corn, and the esculent roots of the garden, | |
| And the apple-trees cover’d with blossoms, and the fruit afterward, and wood-berries, and the commonest weeds by the road; | |
| And the old drunkard staggering home from the out-house of the tavern, whence he had lately risen, | |
| And | |
| And the friendly boys that pass’d—and the quarrelsome boys, | 15 |
| And the tidy and fresh-cheek’d girls—and the barefoot negro boy and girl, | |
| And all the changes of city and country, wherever he went. | |
| His own parents, | |
| He that had father’d him, and she that had conceiv’d him in her womb, and birth’d him, | |
| They gave this child more of themselves than that; | 20 |
| They gave him afterward every day—they became part of him. | |
| The mother at home, quietly placing the dishes on the supper-table; | |
| The mother with mild words—clean her | |
| The father, strong, self-sufficient, manly, mean, anger’d, unjust; | |
| The blow, the quick loud word, the tight bargain, the crafty lure, | 25 |
| The family usages, the language, the company, the furniture—the yearning and swelling heart, | |
| Affection that will not be gainsay’d—the sense of what is real—the thought if, after all, it should prove unreal, | |
| The doubts of day-time and the doubts of night-time—the curious whether and how, | |
| Whether that which appears so is so, or is it all flashes and specks? | |
| Men and women crowding fast in the streets—if they are not flashes and specks, what are they? | 30 |
| The streets themselves, and the façades of houses, and goods in the windows, | |
| Vehicles, teams, the heavy-plank’d wharves—the huge crossing at the ferries, | |
| The village on the highland, seen from afar at sunset—the river between, | |
| Shadows, aureola and mist, the light falling on roofs and gables of white or brown, three miles off, | |
| The schooner near by, sleepily dropping down the tide—the little boat slack-tow’d astern, | 35 |
| The hurrying tumbling waves, quick-broken crests, slapping, | |
| The strata of color’d clouds, the long bar of maroon-tint, away solitary by itself—the spread of purity it lies motionless in, | |
| The horizon’s edge, the flying sea-crow, | |
| These became part of that child who went forth every day, and who now goes, and will always go forth every day. |
