Sunday, October 4, 2015

NIGHT ON THE MOUN­TAIN

The fog has risen from the sea and crowned
The dark, untrod­den sum­mits of the coast,
Where roams a voice, in canyons utter­most,
From mid­night waters vibrant and pro­found.
High on each gran­ite altar dies the sound,
Deep as the tram­pling of an armored host,
Lone as the lamen­ta­tion of a ghost,
Sad as the dia­pa­son of the drowned.
The moun­tain seems no more a soul­less thing,
But rather as a shape of ancient fear,
In dark­ness and the winds of Chaos born
Amid the lord­less heav­ens’ thun­der­ing–
A Pres­ence crouched, enor­mous and aus­tere,
Before whose feet the mighty waters mourn.
The flip side to Bai’s poem, Sterling’s Night on the Moun­tain cap­tures the malev­o­lence that moun­tains some­times seem to pos­sess. It’s dif­fi­cult to find a heart “free of care” dur­ing a fero­cious moun­tain storm.
If this list shows us any­thing, it’s that moun­tains encom­pass a rainbow-spectrum of mean­ing. They are beau­ti­ful and ugly, peace­ful and malev­o­lent, holy and unholy — some­times all at once. The shape shift­ing nature of moun­tains will con­tinue to inspire and pro­voke us with won­der, and will con­tinue to scare us, as well.

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