It's all blooming--my garden is damp with lush magnolias, honeysuckle, blood red roses and all the seeds I planted last season.
Getting closer to my master's degree, diving deep into mysticism, a new love, workshops to teach, a book of poetry. And I'm grateful. So grateful. But my lap is so full that there are moments I feel stretched thin and want to cry, perhaps crumbling into pieces that would crash onto the cool tile of my kitchen floor. And I am scared to even admit this, because it feels like we never really talk about how overwhelming beautiful things can be.
That would be complaining, right? But maybe it's just honesty. Because it's not just pain that can feel like 'too much' but it's beauty, love, vivacious life, laughter, too. Anything can feel overwhelming, and that's okay. We just have to know how to navigate this….
Change spills through my veins, barreling fiercely now--and my lips crack upwards in a huge smile, teeth shining out. I plunge into weightlessness, tears ebbing down my cheeks--as I free-fall at a thousand miles an hour Sep 4, Welcome Home, Beloved. Magic sings in our veins. Pain is not who we are. What is it to think of ourselves as the beloved? Our own lover. To peer into these incredible places inside of us That are never, ever lost. Mar 22, This Surrender is Forever.
demrelighworl.tk Oct 10, Aug 22, I Know Pain. But Now, it's Time to Taste Joy.
A new chapter. All the words aren't written yet. And that feels really good. Time as space are pliable. And the past is, too--it is not stagnant, or fused to any particular story. And in giving meaning, healing happens…. Jun 28, Jun 17, Jun 10, I worked for it all. Jun 23, A touch isn't just a touch. We bloom for ourselves And for each other Ruby red hibiscus flowers in the sweet heat of summer The sky rains petals and drips a sunset of magenta creamsicle passion.
In moments like this, the world does not exist All the frantic doing and spinning wheels of busy fade away There is only the music we make together May 25, Everything is Changing.
Everything is changing. There is no thing to hold onto. May 11, This feels naked. Really vulnerable. That's how I know it's the right thing. Sep 4, Welcome Home, Beloved. Apr 17, be human. March Mar 31, the sparkling clarity of now. Mar 22, This Surrender is Forever.
September Sep 25, Nostalgia Burns Sweet. Sep 17, Trial by Fire. Aug 22, I Know Pain. Aug 10, I am Learning how to be Myself. August Aug 18, Feel. Be a Beautiful Human Being. Jun 23, A touch isn't just a touch. March Mar 7, in the shadows of heartbreak, i find my light. Your Heart Matters. Jan 20, Vulnerability Without Boundaries is Madness.
Few things are more beautiful than a rose in full bloom. Rambling I stood love stung, adoring her, Borrowed a Receive a new poem in your inbox weekly! A rose in full bloom. With her sunshine smiling down on her You are my sunshine, my life, my very soul. And I your rose blooming in the light of your love.
December Dec 5, You Inspire me to be Vulnerable. September Sep 14, The beautiful, writhing mess inside us. Sep 10, Let us feed each other with the nectar of this love. Sep 7, What Do you Do? They Ask. I am Writer, I Say. August Aug 31, i am unmasked.
Next page. O wild and loose to my soul—O wondrous singer! Newsletter Subscribe Give. For the sure-enwinding arms of cool-enfolding Death. Loving thus suggests that Whitman's descriptions of the funeral procession, public events and the long train journey may have been "based on second-hand information".
Jul 6, I am the Poem. Jul 3, The Battle Cries of an Empath. I Am Here to be Love. Jun 27, Soul Is. Literary scholar Kathy Rugoff says that "the poem The first version of "When Lilacs Last in the Dooryard Bloom'd" that appeared in was arranged into 21 strophes. The material from the former strophes numbered 19, 20 and 21 in were combined for the revised 16th and final strophe in While Whitman's "When Lilacs Last in the Dooryard Bloom'd" is an elegy to the fallen president, it does not mention him by name or the circumstances surrounding his death. This is not atypical; Whitman biographer Jerome Loving states that "traditionally elegies do not mention the name of the deceased in order to allow the lament to have universal application".
The speaker expresses his sorrow over the death of 'him I love' and reveals his growing consciousness of his own sense of the meaning of death and the consolation he paradoxically finds in death itself. The narrative action depicts the journey of Lincoln's coffin without mentioning the president by name and portrays visions of 'the slain soldiers of war' without mentioning either the Civil War or its causes. The identifications are assumed to be superfluous, even tactless; no American could fail to understand what war was meant.
Finally, in the 'carol of the bird,' the speaker recounts the song in which death is invoked, personified and celebrated. Whitman's biographers explain that Whitman's verse is influenced by the aesthetics, musicality and cadences of phrasing and passages in the King James Bible.
Although Whitman's free verse does not use a consistent pattern of meter or rhyme, the disciplined use of other poetic techniques and patterns create a sense of structure. His poetry achieves a sense of cohesive structure and beauty through the internal patterns of sound, diction, specific word choice, and effect of association. The poem uses many of the literary techniques associated with the pastoral elegy , a meditative lyric genre derived from the poetic tradition of Greek and Roman antiquity.
According to literary scholar James Perrin Warren, Whitman's long, musical lines rely on three important techniques—syntactic parallelism, repetition, and cataloguing. According to Warren, Whitman "uses anaphora , the repetition of a word or phrase at the beginning of lines; epistrophe , the repetition of the same words or phrase at the end of lines, and symploce the combined use of anaphora and epistrophe , the repetition of both initial and terminal words.
According to Raja Sharma, Whitman's use of anaphora forces the reader "to inhale several bits of text without pausing for breath, and this breathlessness contributes to the incantatory quality". His catalogues work by juxtaposition, image association, and by metonymy to suggest the interrelationship and identity of all things.
By basing his verse in the single, end-stopped line at the same time that he fuses this line—through various linking devices—with the larger structure of the whole, Whitman weaves an overall pattern of unity in diversity. According to Daniel Hoffman, Whitman "is a poet whose hallmark is anaphora ". According to Coffman, Emerson adds that because "the universe is the externalization of the soul, and its objects symbols, manifestations of the one reality behind them, Words which name objects also carry with them the whole sense of nature and are themselves to be understood as symbols.
Thus a list of words objects will be effective in giving to the mind, under certain conditions, a heightened sense not only of reality but of the variety and abundance of its manifestations.