A Marshy Cacophony

Cold, wet leaves
Floating on moss-coloured water   
And the croaking of frogs—
Cracked bell-notes in the twilight.

~Amy Lowell “The Pond”

Poets who know no better
rhapsodize about the peace of nature,
but a well-populated marsh is a cacophony.
~Bern Keating

O, I love to hear the frogs
When they first begin to sing;
How they vocalize the bogs,
And vociferate the Spring.
How they carol as they croak,
How they mingle jest and joke
With their solemn chant and dirge
On the river’s slimy verge.

O, I love to hear the frogs,
For their monotone uncouth
Is the music of the cogs
Of the mill wheel of my youth.
And I listen half asleep,
And the eyes of mem’ry peep
Through the bars that hold me fast,
From the pleasures of the past.

O, I love to hear the frogs,
For their melody is health
To the heart that worry flogs
With the lash of want or wealth.
And the cares of life take wing,
And its pleasures lose their sting,
And love’s channel way unclogs
In the croaking of the frogs.

~Harry Edward Mills “The Early Frogs”

I wanted to speak at length about
The happiness of my body and the
Delight of my mind

But something in myself for maybe
From somewhere other said: not too
Many words, please, in the muddy shallows the
Frogs are singing.

~Mary Oliver, from “April”

About two weeks ago, music from the wetlands became faintly detectable in the distance. We were only a little over a month into winter, yet due to unduly mild temperatures, the chorus had begun.

The sleigh-bell jingle song of the Pacific Chorus Frogs now fills the air each evening, rising from the ponds and standing water that surround our farm. I stand still for a moment to soak up that song that heralds spring–a certainty that the muddy marshes are thawed enough to invite the frogs out of their sleep and start their courting rituals.

Now winter won’t return anytime soon with any seriousness.

This marsh music is disorienting this early, along with daffodils budding in late January and lawns needing mowing in February. With voices so numerous, strong and insistent, it feels as though a New York City of frogs has moved in next door; we are seated in the balcony of Carnegie Hall. 

They seem to be directed by an unseen conductor, as their voices rise and fall together and then cut off suddenly with a slice of the baton, plunging the landscape into uncomfortable silence at the slightest provocation, as if they hold an extended fermata for minutes on end.

The frogs’ repertoire is limited but their wind power, stamina and ability to project their voices impressive. They are most tenacious at making their presence known to any other peeper within a mile radius. Their mystical, twilight symphony of love and territory has begun, soft and surging, welcome and reassuring.

There’s a spring a-comin’, the peepers proclaim. 
Nothing can be sweeter.

I know all the behaviorist theories about frog chorus being about territoriality –the “I’m here and you’re not” view of the animal kingdom’s staking their claims. Knowing that theory somehow distorts the cheer I feel when I hear these songs. I want the frogs (and birds) to be singing out of the sheer joy of living. Instead, they are singing to defend their piece of mud or branch.

Then I remember, that’s not so different from people. Our voices tend to be loudest when we are being insistently territorial: we own this and you do not, and we are irresistibly better than you.

I’m not sure anyone enjoys human cacophony in the same way I enjoy listening to the chorus of frogs at night or birdsong in the morning. We humans are most harmonic when we choose to listen. Instead of sounding off, we should soak up. Instead of shouting “this is mine,” we should sit expectant and grateful.

Perhaps that is why the most beloved human choruses are derived from prayers and praise – singing out in joy and gratitude rather than in warning.

I’ll try to remember this when I get into my own righteous and “territorial” mode. I don’t bring joy to the listener nor to myself. When it comes right down to it, all that noise I make is nothing more than a croaking cacophony in a smelly mucky swamp.

Here’s what it sounds like all around us: https://www.facebook.com/share/v/1Ab4EBKYx9

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A Leap Into Nothingness

Toads are smarter than frogs. Like all of us who are not good-
looking they have to rely on their wits. A woman around the
beginning of the last century who was in love with frogs wrote
a wonderful book on frogs and toads. In it she says if you place
a frog and a toad on a table they will both hop. The toad will
stop just at the table’s edge, but the frog with its smooth skin
and pretty eyes will leap with all its beauty out into nothing-
ness. I tried it out on my kitchen table and it is true. That may
explain why toads live twice as long as frogs. Frogs are better at
romance though. A pair of spring peepers were once observed
whispering sweet nothings for thirty-four hours. Not by me.
The toad and I have not moved.
~Tom Hennen  “Plains Spadefoot Toad”

toad photo by Josh Scholten
photo by Kate Steensma

I am too much like a toad.

Plain, bumpy, staid,
cautious, contemplative,
tending to plop or splat
rather than risk
a graceful, carefree
leap into nothingness.

Someone has to hold down the swamp,
while peering over the edge of the abyss,
belching out an occasional thoughtful croak
while thousands of dainty peepers sing their hearts out
like so many sleighbells jingling gaily
throughout the endless, late winter night.

We all sing together…

AI image created for this post

Poets who know no better rhapsodize about the peace of nature, but a well-populated marsh is a cacophony.
~Bern Keating

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Dawn on our Darkness: For Unto Us…

photo from Lynden Choral Society

A little heat caught
in gleaming rags,
in shrouds of veil,
torn and sun-shot swaddlings:

   over the Methodist roof,
two clouds propose a Zion
of their own, blazing
(colors of tarnish on copper)

   against the steely close
of a coastal afternoon, December,
while under the steeple
the Choral Society

   prepares to perform
Messiah, pouring, in their best
blacks and whites, onto the raked stage.
Not steep, really,

   but from here,
the first pew, they’re a looming
cloudbank of familiar angels:
that neighbor who

   fights operatically
with her girlfriend, for one,
and the friendly bearded clerk
from the post office

   —tenor trapped
in the body of a baritone? Altos
from the A&P, soprano
from the T-shirt shop:

   today they’re all poise,
costume and purpose
conveying the right note
of distance and formality.

   Silence in the hall,
anticipatory, as if we’re all
about to open a gift we’re not sure
we’ll like;

   how could they
compete with sunset’s burnished
oratorio? Thoughts which vanish,
when the violins begin.

   Who’d have thought
they’d be so good? Every valley,
proclaims the solo tenor,
(a sleek blonde

   I’ve seen somewhere before
—the liquor store?) shall be exalted,
and in his handsome mouth the word
is lifted and opened

   into more syllables
than we could count, central ah
dilated in a baroque melisma,
liquefied; the pour

   of voice seems
to make the unplaned landscape
the text predicts the Lord
will heighten and tame.

   This music
demonstrates what it claims:
glory shall be revealed. If art’s
acceptable evidence,

   mustn’t what lies
behind the world be at least
as beautiful as the human voice?
The tenors lack confidence,

   and the soloists,
half of them anyway, don’t
have the strength to found
the mighty kingdoms

   these passages propose
—but the chorus, all together,
equals my burning clouds,
and seems itself to burn,

   commingled powers
deeded to a larger, centering claim.
These aren’t anyone we know;
choiring dissolves

   familiarity in an up-
pouring rush which will not
rest, will not, for a moment,
be still.

   Aren’t we enlarged
by the scale of what we’re able
to desire? Everything,
the choir insists,

   might flame;
inside these wrappings
burns another, brighter life,
quickened, now,

   by song: hear how
it cascades, in overlapping,
lapidary waves of praise? Still time.
Still time to change.

~Mark Doty “Messiah (Christmas Portions)”

Lynden Choral Society

Our small town
Has more churches than banks-

With a century old choral society
With a Christmas tradition of singing Handel’s Messiah.

Sixty-some enthusiastic singers recruited without auditions
Through church bulletin announcements:

Farmers, store clerks, machinists, students
Grade schoolers to senior citizens

Gather in an unheated church for six weeks of rehearsal
To perform one man’s great gift to sacred music.

Handel, given a libretto commissioned to compose,
Isolated himself for 24 days – barely ate or slept,

Believed himself confronted by all heaven itself
To see the face of God,

And so created overture, symphony, arias, oratorios
Soaring, interwoven themes repeating, resounding

With despair, mourning, anticipation
Renewal, redemption, restoration, triumph.

Delicate appoggiaturas and melismata
Of astounding complexity and intricacy.

A tapestry of sound and sensation unparalleled,
To be shouted from the soul, wrung from the heart.

This changing group of rural people gathers annually to join voices
Honoring faith foretold, realized, proclaimed.

Ably led by a forgiving director with a sense of humor
And a nimble organist with flying feet and fingers.

The lilting sopranos with angel song,
The altos a steadfast harmonic support,

The tenors echo plaintive prophecy
The base voices remain full and resonant.

The strings paint a heaven-sent refrain
In a duet of counterpoint melody.

The audience sits, eyes closed
Remembering oft-repeated familiar verses.

The sanctuary overflows
With thankfulness and praise as we shall be changed.

Glory to God! For unto us a Child is born
And all the people, whether singers or listeners, are comforted.

Dan and Emily after the 2008 Messiah performance

This year’s Advent theme “Dawn on our Darkness” is taken from this 19th century Christmas hymn:

Brightest and best of the sons of the morning,
dawn on our darkness and lend us your aid.
Star of the east, the horizon adorning,
guide where our infant Redeemer is laid.
~Reginald Heber -from “Brightest and Best”

Our small town choral society:

and now for the professionals…

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A Shimmering Dusk

Evening, and all the birds
In a chorus of shimmering sound
Are easing their hearts of joy
For miles around.

The air is blue and sweet,
The few first stars are white,–
Oh let me like the birds
Sing before night.
~Sara Teasdale “Dusk in June”

photo by Nate Gibson

Sure on this shining night
Of star made shadows round,
Kindness must watch for me
This side the ground. 
The late year lies down the north.
All is healed, all is health.
High summer holds the earth. 
Hearts all whole.
Sure on this shining night I weep for wonder

wand’ring far alone
Of shadows on the stars.
~James Agee “Sure on this Shining Night”

photo by Nate Gibson

It is high summer holding the earth now;
our hearts whole and healed in a shimmering dusk.

I weep for wonder that we have this time,
at this place, singing under these stars.

May we live sure that on another shining night,
sometime, we know not when, we know not how,
we will all be together again.

Amen and Amen.