Thursday, March 3, 2016


the one set apart from social normality."

                                               Christopher Barzack

They could not accept him as a sprite.

A slender-winged youth

who could  decipher the magic

of tree rings, toadstools and thistles,

bones, barnacles  and shells --

everything of field and beach,

or comprehend how he flew

beyond the horizon and back again.


He was the odd brother,  the strange thinker,

 the cursed child left at birth.

Their baby daughter stolen

by unnatural folk The house lassoed

in  moonlight. A ring sunken

in the wet grass.


 And as he grew into a concept

they could never conceive

as real -- they relegated him

to the ghost of an ancestor's guilt.

An artist who portrayed

Arial  erupting 

from the cloven pine as a girl. 


A man who betrayed The Playwright

too ashamed or afraid to paint

the delicate mind, the craft

of intuition as male. A beautiful boy

who glittered.

. I have thought about the young brother, the odd child, the strange one in life and in fairytales. As writer, Christopher Barzack explains, this was the boy who did not fit in and the one considered least likely to succeed or be  accepted by society. Yet, it is this child  who often saves the day with his keen wit and physical smallness. But extending beyond that point, the young hero is given the  practical mentality/intellect to solve the problem and prevail. It is still keeping within the traditional boundaries of gender. As  essayist, Richard Silken contends  in  his view of  fairytales , women have power (mother, daughter, witch) and men (father, son) just flounder about , leaves a lack of leniency or acceptability for the male to have a similar skill, a sensitivity to natural things, an intuitive acuity that connects to the wise nurturing of earth . Society sometimes  brands   the  male "prodigy" in music, dance or  art as someone special but also alien in his awareness and delicate application of the craft. The individual is not seen as normal but strange, exclusive  even leaning toward the effeminate.  And this ,too, brands him with a stigma. In Shakespeare's play, The Tempest, the character of Ariel, the sprite and servant of Prospero, was originally defined as a male spirit of air and magic. Yet, in Victorian times and  in the recent past, painters have depicted him as female as well as directors of the play, itself.
                                          "Ariel"  by painter. John A. Fitzgerald.

 Actress, Margaret Leighton, as Ariel in a 1952 production of  The Tempest.

It may have seemed more believable and even safer. However, the sensitive genius that operates for the good of humanity, the enrichment and  the productivity of its imagination,  is a blessing, a gift that should be revered and respected openly  as something viable/significant in both genders. 
The beautiful painting ( at the very top)  is by artist, LOTR Legolas 




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