"Inscription Rock, Lake Erie," by Seth Eastman, 1850.‘On the Shores of Lake Erie’ by G. M. H. Thompson The Society September 11, 2016 Beauty, Poetry 2 Comments On the shores of Lake Erie, most weak & most weary, a soldier sat sunning, returned from the wars, And though it were bleary, he still could see clearly when a bonny lass found him— her beauty shone pure: “Though Darlin’, I’m dying, your vision is blinding, and I can’t stop from sighing as I gaze at you, “So please take these roses I plucked in old Flanders while the gas and explosions made mincemeat of us;— “They’re wilted & muddy and some, slightly bloody, but they’re all I can offer as I die from my wounds”— She spoke not but kissed him with ebony wisdom embraced him & graced him with slumber divine, For she was an angel come down to lead his soul to the high halls of Heaven and wonders of Time. G. M. H. Thompson’s publication credits: Scifaikuest, Shemom, Bear Creek Haiku, Haikuist, Anti-Heroin Chic (formerly Heroin Chic), Old Red Kimono, Road Not Taken: The Journal of Formal Poetry. Let Us Go, a poem by G. M. H. Thompson, won the Winter 2016 Heart & Mind Zine Judge’s Choice award in the category of poetry. Four of G. M. H. Thompson’s as-yet-unpublished poems will appear in the forthcoming 2016 anthology of Scurfpea Publishing. Related Post ‘Song of Us’ and Other Poetry by by Amy Foreman Song of Us Face to face, polite and careful, Tentative we were, and prayerful, Neither one of us would dare pull More from this than met the eye. ... Tell the world:FacebookTwitterTumblrPinterestRedditLinkedInEmail 2 Responses Gleb Zavlanov September 18, 2016 I really enjoyed the melodious meter of the poem. Could you tell me what the foot is called? I believe Trochee but I could be mistaken. The greatest poetry is often the simplest and most compact. Well done! Reply G. M. H. Thompson September 18, 2016 Thank you– your words are very kind. It’s actually mostly in amphibrachs, which is a three-syllable foot that goes unstressed-stressed-unstressed, but the fourth line of most of the stanzas is a amphibrach followed by an iamb. Also, the third line often goes unstressed-unstressed-stressed-unstressed-unstressed-stressed-unstressed. Another way to look at it would be to say that the poem is accentual with two beats per line (in fact, that’s how I looked at it until I read a book that explained to me what an amphibrach was about two months ago (that book was ‘Measure for Measure: An Anthology of Poetic Meters’ by Everyman’s Library Pocket Poets, a surprisingly enlightening anthology of formal poetics)). The metrics are not perfect, but I constructed the poem based on a simple melody (a method I highly recommend, but it can be difficult coming up with a melody, I know) (it is somewhat difficult in places to pick out the metrics without knowing the melody) and it works well as a song, so I kept the imperfections anyway. Here is the complete metrical scheme if it interests you: uu/uu/u u/uu/u u/uu/u u/uu/ u/uu/u u/uu/u uu/uu/u u/uu/ u/uu/u u/uu/u uu/uu/u u/uu/ u/uu/u u/uu/u uu/uu/u u/uu/ u/uu/u u/uu/u uu/uu/u uu/uu/ u/uu/u u/uu/u u/uu/u u/uu/ u/uu/u u/u/u/ uu//u/u u/uu/ Reply Leave a Reply Cancel Reply Your email address will not be published.CommentName* Email* Website Notify me of follow-up comments by email. Notify me of new posts by email.