a requiem for Emily
wordless notes from far off melody
poet, enchantress, ghost of Emily,
from heaven’s majestic heights, hear my pleas,
thy lyric gift, a requiem for thee.
...
on moonlit night, thy pale wraith did I see
and prayed thee cross stormy uncharted seas,
poet, enchantress, ghost of Emily.
…
dressed in mechlin, like angels might, shyly
winging pale and lithe through funereal trees,
thy lyric gift, a requiem for thee.
…
with wordless notes from far off melody,
quiet as the dew thy phantom steps tease,
poet, enchantress, ghost of Emily.
...
eternal muse, murmur softly to me
that I, like thee, might rhyme with dreamlike ease,
thy lyric gift, a requiem for thee.
...
goodnight, dear soul, sweet parting uttered we,
on whispered wings, flew thou with sacred keys,
poet, enchantress, ghost of Emily,
thy lyric gift, a requiem for thee.
About the Creator
John Cox
Twisted teller of mind bending tales. I never met a myth I didn't love or a subject that I couldn't twist out of joint. I have a little something for almost everyone here. Cept AI. Aint got none of that.
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Compelling and original writing
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Writing reflected the title & theme
'20/20'
"Do It Again" the track that would ultimately open the Beach Boys final album on Capitol Records which was released on February 10th 1969 had originally been released as a single in August of 1968. The track was the first of many post-Pet Sounds era throwbacks to the early Beach Boys sound which would become continually more cliched and eventually lead the Beach Boys to the level of self-parody they would eventually succumb to in the 1980s while their closest contemporaries The Beatles nearing the end of their run in 1969 would go on to be viewed as the most influential band of all time. However, the song itself is not bad on its surface, and it opens with a futuristic sounding (for 1969) drumbeat captured by then-Beach Boys engineer Stephen Desper using tape delays on the drums performed by Dennis Wilson and John Guerin. The song has been re-recorded numerous times over the years on various Beach Boys-related projects most notably the 2011 re-recording at Capitol studios featuring the five surviving Beach Boys at the time backed instrumentally by various members of both the Brian Wilson Band and Mike Loves touring "Beach Boys" to promote the then upcoming Beach Boys 50th Anniversary reunion tour in 2012. The hammering and power drill sound at the end of the song was an excerpt from a track called "Workshop" that was to be a part of the uncompleted "SMiLE" album.
By Sean Callaghan4 days ago in Beat
Comments (8)
This is a beautiful homage to Emily Dickinson. The imagery of her as a wraith, soaring on whispered wings, feels so fitting for a poet whose words still fly through the ages.
Santa John has gifted us a masterpiece, I see. I love this art piece. It looks as if she's about to speak. I think if she reads this, she would be very pleased. I like how you had a couple of ways to describe and address her. Your perfect unstressed and stressed syllables! Especially in the third tercet—the words you used: winging pale, lithe, funereal. They did much to make the atmosphere feel dreamlike, just for her, for the words to float to her. Your plea to be as good as her was beautiful; the refrain below it was then brought to life. The quatrain really did sound like you were seeing her off. Ugh! I am jealous; this is just too good. Lol, no. I am in awe. 🤗🖤❤️
I'm a huge fan of Emily Dickinson and this is a wonderful tribute to her. Great to see her recognized in such an eloquent way.
What a beautiful tribute, John! Haunting in the loveliest way. Villanelles are so difficult and you've done it with such grace here - you say #8?! I will defintely have to check out your others! Your imagery drifts in the most enchanting of ways!
Well-wrought, John! She's among my favorite poets.
Didn't you already publish this John?
Soo beautiful
What a way to remember one fictional and/or real. Good job.