Autumn Song By Dante Gabriel Rossetti Know'st thou not at the fall of the leaf How the heart feels a languid grief Laid on it for a covering, And how sleep seems a goodly thing In Autumn at the fall of the leaf? And how the swift beat of the brain Falters because it is in vain, In Autumn at the fall of the leaf Knowest thou not? and how the chief Of joys seems—not to suffer pain? Know'st thou not at the fall of the leaf How the soul feels like a dried sheaf Bound up at length for harvesting, And how death seems a comely thing In Autumn at the fall of the leaf? Poetry Foundation
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Thanks for Visiting 🙂
~Sunnyside
Excellent combination
Happy Friday! 🙂
~Sunnyside
Lovely!
0:09– From foreign Lands and People 2:11– Curious Story 3:09– Catch me if you can 3:38– Entreating Child 4:25– Perfect Happiness 5:48– An Important Event 6:40– Dreaming 9:33– By the Fireside 10:19– Knight of the Rocking-Horse 10:53– Almost too serious 12:40– Frightening 14:08– Child falling asleep 16:32– The Poet Speaks
Hat Tip
Many thanks to sakura at One Step at a Time for introducing me to this musical selection in her post, The Eyes of a Child.
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- James Jebusa Shannon at Wikimedia Commons
- James Jebusa Shannon at ArtUK
- James Jebusa Shannon at Art Renewal Center
- James…
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Interesting and atmospheric. Loving your collection-My Hollywood. Struck by the word “drear” here and its connotations in early poetry. “Johnny Frenchman” too was intriguing as the title of a film from around 1947 about Cornwall and Brittany.
Malibu Pier area in the 1950s
It was a multifarious delight to see My Hollywood praised in The New York Review of Books, in a wonderful piece by Anahid Nersessian, a professor of English at UCLA, that paired the collection with Adam Kirsch’s own loose (in all but the metrical sense) LA memoir-in-verse, The Discarded Life. Nersessian’s reading is generous and her phrasing is lapidary; she doesn’t groan at my rhymes and detects in my poems an “air of upbeat sorrow,” as well as “an émigré mood, defined by the conviction that things could always be worse.” How true, that last bit. And it gave me special pleasure to see the critic connect this mood to the work of the composer Vernon Duke, né Dukelsky, whose Russophone Angeleno poems I’ve been translating for some time. Not only does Nersessian mention the two I included in the book, “Farmers…
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Autumn, Cypress Gardens, Florida
Splendid- truly splendid.
The two colours have worked pleasantly together here.
Had an unusual start to the day, with an early morning walk before my usual morning run. I’m embracing the spirit of experimentation with these, so this one was sketched using diluted Sennelier shellac based ink (non fountain pen friendly) in waterbrushes, paired with a fine nibbed TWSBI ECO filled with J. Herbin Emerald of Chivor, and a Diplomat Aero with a fine nib filled with Colorverse Golden Record. The Midori MD Cotton paper does not take nicely to any amount of moisture and there was bleed through (and of course see through) to the other side of the page, but in general it held up much better than I expected.
Here are all the tools used for this quick sketch:
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Fascinating painting and rather amazing to see this dated as 1916.
“Frieseke’s celebrated Giverny subjects of women in domestic interiors, or, such as in the present example, enjoying moments of leisure in the village’s opulent gardens, are imbued with a remarkable sense of light and high-keyed palette adopted from the French Impressionists. William H. Gerdts writes, “It was Frieseke who introduced into the repertory of Giverny painting the concern for rich, decorative patterns, related to the art of Edouard Vuillard, Pierre Bonnard, and the other Nabi painters. There are patterns of furniture, patterns of parasols, patterns of fabric and wall coverings, patterns of light and shade, and patterns of flowers, all played off one against another in bright sunshine…” (Monet’s Giverny: An Impressionist Colony, New York, 1993…
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Snow Bridge, Warsaw, Poland
Like a very early Christmas card!
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penwithlit 
