Tags
Ancestral Longing, Arboreal Mythology, Dreamscape Melancholy, Epitaphic Impressions, Existential Irony, Gothic Landscape, Heartwood Testament, Liminal Solitude, Memory Palimpsests, Mortal Transience, Mortality And Decay, Nature's Dirge, Primordial Secrets, Relics Of Loss, Ruin And Resonance, Sorrowful Remembrance, Spectral Presence, Supernatural Silence, Timeworn Witness, Twilight Thresholds

I found the ancient oak at twilight’s edge alone,
Its roots like gnarled fingers clutching lore unknown,
A thousand rings within its buried throne,
A testament to secrets never shown.
The bark was scarred with lovers’ carved initials,
Each ghostly trace by time grown indelible,
Like echoes fading from old rituals,
What’s left of hearts once indivisible.
I pressed my palm against its trunk and felt
The steady pulse of centuries aching deep beneath,
While all my modern certainties cracked, began to melt
Like morning frost upon a forgotten heath.
“What meaning endures in life?” I said to the tree,
Whose boughs clawed dusk’s extinguishing light,
It answered—not with verse nor elegy—
But bearing witness to the earth’s undying might.
The wind through hollow boughs exhaled a ghostly moan,
A dirge for all who’d rested in its shade—
Children’s voices lingered, their innocence long flown,
Now buried in the very ground they’d played.
It bore the burden of each desperate plea,
Lost vows entangled in its tome of rings,
As years collapsed to frailty and debris,
I felt as slight as specters, vanished from the living.
The ruined ages whisper dirges while they weep—
As its limbs held vigil over kingdoms’ ash and bone,
Guarding the dreams that mortals could not keep,
Immortal, ageless, eternally alone.
I thought of all the souls with ghosts of grief to wrestle,
Who’d asked the questions that now plagued my mind,
And found no answers in its primeval vessel,
Just solemn silence holding secrets we’ll never find.
The truth descended as the darkness grew:
That meaning wasn’t something to be found,
But carved, like names, in heartwood’s layered view—
Each life a ring that marks what fate had bound.
The oak would stand long after I had died,
My memory as faded as those names,
Yet every root would mock what men confide—
The living earth erases all our claims.
I liked it … as I do most all your creations … but felt the 8th and 9th verses took away from the “story.” But that’s just me. Others may very well disagree.
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You’ve pinpointed the very stanzas that were the hardest to write, and the ones I’ve wrestled with most. I call them the “bridge of doubt.”
You’re absolutely right—the poem builds this incredible, visceral momentum. You’re right there with me, palm against the bark, feeling the pulse, hearing the dirge in the wind. The imagery is doing the heavy lifting. So why, then, step back and have the speaker explicitly state, “I thought of all the souls…” and “The truth descended…”? Isn’t that breaking the spell?
For me, those stanzas aren’t a detour; they’re the poem’s emotional core. The first half of the poem is about perception—what I see, hear, and feel from the tree. It’s an external observation, even if it’s a profound one.
But stanzas 8 and 9 are about internalization. That’s the moment the experience moves from my senses to my soul. It’s the human need to find companionship in despair—the realization that “I am not the first to feel this.” When I stand there, dwarfed by this ancient entity, the most isolating feeling is the thought that my existential dread is mine alone. But then comes the crushing, yet strangely comforting, realization that every human who ever stood in that spot—the lovers, the children, the warriors from the “kingdoms’ ash and bone”—likely asked the same futile questions.
The “truth” that “descends” isn’t one the tree told me; it’s the one I arrive at by witnessing this grand, silent parliament of the dead. The tree itself is just “eternally alone,” but I am a social creature, and I process my place in the world by connecting my small story to the larger human tapestry. These stanzas are that connection. They are the human heart trying to make sense of the sublime, moving from awe, to isolation, and finally to a shared, communal frailty.
Without that internal shift, the poem risks being a beautifully described scene—a postcard of melancholy. With it, it becomes a record of a human transformation. It’s the difference between looking at a grave and suddenly, painfully, feeling the connection to everyone who has ever grieved.
So, I suppose I kept them because they feel the most human. The tree doesn’t need the meaning; it simply is. But I am not a tree. I am a person who needs to carve my name, to leave a ring, to confess my “claims” even as I know they will be erased. These stanzas are that confession.
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That’s the thing with poetry … it’s very personal. And while I appreciate your explanation … I stand by my comment. ☺️
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