Music in Winter is a rhyming poem.
It’s written about a young couple who are in love and who are walking on a cold, dark beach.
In winter, along the grey and green northwestern shore,
the freezing ocean draws its briny waves and bubbling foam
over beach crabs, Nautilus shells, and the crow-combed floor
as the sun sets beyond the sea into her western home.
Then the stars come out. One by one, they start to appear.
They are like lighthouses in the cold, black galaxies of space,
each with a message that says, Here, there are planets here,
circling round and round, far away, revolving round a fiery base.
And then, floating up from the water, comes the crescent moon,
scythe-like, Arabesque, swathed by scudding silver clouds,
and blinking behind a raven who flies, witchlike, through the woven gloom,
through winds whose warp and weft are the cloth of night’s dark shrouds.
In the midst of this a couple wander onto the sands.
They are lit by moonlight. Her hair is long; their feet are bare.
They walk like lovers and intertwine their hands.
They stop at sea’s edge and breathe the salty air.
It is a dark, cold night. A vagrant cloud covers the moon.
Not a light, not a lamp, not a glow can be seen.
The music of the ocean’s combers is an ancient tune.
The rustling of the firs lends woodwinds to the night’s song,
while the girl adds vocals to the primordial, ancient endeavor,
singing into the wind, into the wilderness, into the wild, high and strong,
a song that lasts a moment, with notes that last forever.