Daily Haiku: May 25, 2018

old house . . .

the ivy’s tangled leaves

whisper its secrets

 

 

 

by Eufemia Griffo  (Italy)

Under the Bashō, July 15, 2017

 

 

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Daily Haiku: May 24, 2018

such silence
in the absence
of one quiet person

 

by Claudia Coutu Radmore  (Canada), Author

the business of isness

 

Daily Haiku: May 23, 2018

train tunnel–
the sudden intimacy
of mirrored faces




by Beverley George (Australia)
Best of Issue
Presence, #22, 2004

 

Daily Haiku: May 22, 2018

midtown fountain
the dancer pirouettes
with a pigeon

 

 

by Amy Losak (USA)

The Heron’s Nest, Vol. XIX, No. 3, September 2017

Daily Haiku: May 21, 2018

low tide all the things I’ve left behind

by Annette Makino (USA)

Modern Haiku, 44.1, Winter-Spring 2013

 

Daily Haiku: May 20, 2018

SENRYU

getaway car–

spending the morning

looking for my keys

by Stanford M. Forrester (USA), Author

getaway car

www.bottlerocketspress.com

getaway car is $3.50 postpaid. 

50 cents extra,  if paying via paypal.

 

Payment may be made by check to:

Stanford M. Forrester

P.O. Box 189

Windsor, CT 06095

 

Daily Haiku: May 19, 2018

first day alone
a breeze fills my lap
with plum blossoms

by Carol Raisfeld  (USA)

The Heron’s Nest, Vol. III, No. 4, April 2001

 

Daily Haiku: May 18, 2018

frozen trough

I cup the warm breath

of my horse

 

 

by Debbie Strange (Canada)

First Place

7th Sharpening the Green Pencil Haiku Contest, 2018

 

Daily Haiku: May 17, 2018

night rains rush

beneath city curbs

voice of a river

by Kathy Lohrum Cotton  (USA)

 

Daily Haiku: May 16, 2018

just enough time

to see the falling rain . . .

hospital window

by Muskaan Ahuja  (India)

Haiku Windows, May 9, 2018
The Haiku Foundation

Daily Haiku: May 15, 2018

senryu

nuclear family fallout

by kjmunro  (Canada)

Modern Haiku, 45.1, Winter-Spring 2014

 

Daily Haiku: May 14, 2018

senryu

talking done
the dregs of friendship
in our mugs

by Rachel Sutcliffe  (UK)
tinywords, Dec. 15, 2015

 

Daily Haiku: May 13, 2018

spring morning
the sky’s blue voice
at my window

by Sandi Pray  (USA)

http://ravencliffs.blogspot.com

March 16, 2015           

                           

 

In The News!

Dear Readers and Followers:

Writers need publicity, so you should always keep that in mind as a writer. Actually, all professionals need publicity.

Do interesting things, and get noticed. Seek publicity. That’s my best advice for you.

This recently ran in The Daily Herald in Arlington Heights, IL.

https://www.dailyherald.com/submitted/20180507/nwcc-exhibitor-charlotte-digregorio-will-exhibit-illustrated-haiku-poetry-through-july-7th

Best of luck with all your endeavors!

 

Charlotte Digregorio

 

Daily Haiku: May 12, 2018

fountain plume

on the boy’s tongue

a rainbow

 

 

by Alegria Imperial (Canada)

Mayfly, #64, 2018

 

 

Daily Haiku: May 11, 2018

ah, summer lilies

to inhale their fragrance

and smell a cemetery

 

 

by Cyndi Lloyd  (USA)

Presence, #52, June 2015

 

Daily Haiku: May 10, 2018

cormorants . . .

we open our arms

to the sun

 

 

by Debbie Strange (Canada)

Third Place

Jane Reichhold International Prize, 2018

 

 

Daily Haiku: May 9, 2018

wood’s edge–
stepping inside
the sound of river

by Peter Newton  (USA)
Honorable Mention
Kaji Aso Studio International Haiku Contest, 2010

Daily Haiku: May 8, 2018

Where I first
catch a glimpse of the mountain
waterfall sound

by Vincent Tripi  (USA), Author 

Paperweight for Nothing

Daily Haiku: May 7, 2018

first tea with her—

cherry blossoms cloud

the skylight

 

 

 

 by Alegria Imperial (Canada)

Vancouver Sakura Award

2014 Vancouver Cherry Blossoms Festival Haiku Invitational

 

Daily Haiku: May 6, 2018

оn one side
the stars, on other you –
every midnight

 

 

 

 by Pere Risteski (Macedonia)
Akita International Haiku Network, 2015

Daily Haiku: May 5, 2018

senryu

comfort television

I don’t move the vase

for the orange asters

by Karen Hoy  (UK)

Multiverses 1.1, 2012

 

The Haiku Foundation Reveals “Touchstone Distinguished Books Awards” Shortlist

The Haiku Foundation recently announced its coveted Touchstone Awards  (https://www.thehaikufoundation.org/2018/04/30/the-touchstone-awards-2017-a-reprise/), with Red Moon Press books winning one award and receiving an Honorable Mention for another. The Press placed five books on the shortlist:

Tokaido (https://www.redmoonpress.com/catalog/product_info.php?cPath=32&products_id=260), by Terry Ann Carter. Terry Ann’s recounting of the famous sojourn along the Tokaido, made famous by Hiroshige’s woodblock print series, marries the classical realm of the narrative with her own personal story. A Touchstone Distinguished Books Award Winner for 2017.

plum afternoon (https://www.redmoonpress.com/catalog/product_info.php?cPath=32&products_id=262), by Kristen Deming. This first full-length collection by a former President of the Haiku Society of America, and a poet who spent many years living in Japan, is a gleaning from 30 years of writing haiku, informed by the Japanese tradition, but American in practice and sensibility. A Touchstone Distinguished Books Award Honorable Mention for 2017.

cricket song: Haiku and Short Poems from a Mother’s Heart (https://www.redmoonpress.com/catalog/product_info.php?cPath=32&products_id=250), by Jessica Malone Latham. Also a first full-length collection, Jessica’s book of poems about the daily joys and travails of motherhood will strike a resonant note with anyone who has borne and raised children. Shortlisted for the Touchstone Distinguished Books Award for 2017.

The New World (https://www.redmoonpress.com/catalog/product_info.php?cPath=32&products_id=270), by Keith Polette. This is Keith’s first collection of haiku, but you wouldn’t know it. His sharp eye and consistent voice suggest someone with a much longer history in the genre, and his unfailing naturalistic perspective is both comfortable and welcome in this time of turmoil. Shortlisted for the Touchstone Distinguished Books Award for 2017.

Sanguinella (https://www.redmoonpress.com/catalog/product_info.php?cPath=32&products_id=279), by Helen Buckingham. The poet says it herself: “Fifty-eight years since the seed was planted, Sanguinella provides a scrump back through the often bloody orchard that constitutes my life until now, from the rural pickings gathered over recent years in the bonsai city of Wells, to the tangled branches of a childhood spent battling various forms of blight in a mulberry-stained corner of South London.” Shortlisted for the Touchstone Distinguished Books Award for 2017.

Daily Haiku: May 4, 2018

rimed fence

the cattle and wind

change direction

 

 

by Debbie Strange (Canada)

Honorable Mention

British Haiku Society Awards, 2017

 

 

The Haiku Foundation: An Organization for Haiku Poets of All Levels

The following information was submitted by Jim Kacian, Founder of The Haiku Foundation:

The Haiku Foundation is a nonprofit organization chartered in the Commonwealth of Virginia, USA, on Jan. 6, 2009. Its mission statement identifies two major directives: 1) to archive the first century of achievement in English-language haiku and 2) to create new opportunities for its second.

THF was conceived of and initiated by Jim Kacian in 2004 as an organization designed to serve English-language haiku’s growth and aims. This was intended to contrast with the majority of haiku (and other arts) organizations whose focus is on individual artists and their needs. THF is, therefore, a non-membership, project-driven organization. It  focuses on six major areas of activity.

Poetry: Haiku, both historical and contemporary, can be found throughout THF site. “Per Diem” features daily haiku drawn from themed-collections produced by monthly guest editors; THF Haiku App gathers Per Diem offerings along with winners of haiku contests and awards programs into a single, mobile-friendly application. Interactive features, including “Haiku in the Workplace,” ” Haiku Windows,” and “The Renku Sessions,” invite and encourage participation, and results are archived and made a permanent part of THF’s collections.

Archives & Libraries: THF possesses the largest hard copy library of haiku materials outside of Japan with holdings of more than 10,000 books and journals, and an extensive collection of haiku ephemera. THF digital library complements this collection with rare and unusual books; a collection of significant essays on the genre; an audio/visual library; and the Cor van den Heuvel Archival library. THF houses the archives of nearly a score of the most important poets working in the genre, including Cor van den Heuvel, James W. Hackett, Alexis Rotella, Martin Lucas, George Swede, and Penny Harter. It also hosts a video archive featuring readings, interviews, lectures, and other short films of haiku poets, a haiga (haiku painting) gallery, and a haiku book cover art gallery.

Awards: The Touchstone Awards, conferred annually, are the most prestigious awards in the genre. “The Touchstone Award for Individual Poems” acknowledges the best poems published in English from around the world each year. “The Touchstone Distinguished Books Award” does the same for published books.

Events: International Haiku Poetry Day, each April 17, is a world-wide celebration of the genre. THF sponsors three specific events: the “Haiku Life Haiku Film Festival,” screening short films and animations of and about haiku; the “Earthrise Rolling Haiku Collaborative,” that gathers hundreds of poems interactively by poets from around the world in a 24-hour timeframe; and “Local Events,” featuring and sponsoring haiku gatherings at diverse places around the globe.

Social Media: The Haiku Registry gathers poems, biographical data, and contact information from poets from around the world. THF Forums are arranged by skill level, from beginner to expert, where poets can find community and assistance. THF blog, “Troutswirl,” (named after a coinage in a famous poem by one of the best-known practitioners of the genre, John Wills), features news, information, updates on events and other happenings, including themed-offerings and a “Book of the Week.” These items, plus news and events, are further broadcast through various social media channels, including Facebook, Twitter, and Pinterest.

Publications: To date, offerings include Montage: The Book (2011), edited by Allan Burns: the largest haiku anthology extant (featuring more than 1100 poems organized by weekly theme); Raymond Roseliep: The Man of Art Who Loved the Rose by Donna Bauerly, a biography of a leading English-Language haiku poet of the 20th century; from the top of the ferris wheel, the collected haiku of Cor van den Heuvel, one of the pioneers of English-Language haiku; and Juxtapositions, the annual journal of haiku research and scholarship.

 

 

Daily Haiku: May 3, 2018

orange asters–

Harley’s chrome glinting

in the brief sun

 

 

by Ignatius Fay (Canada) Co-Author

Breccia

Daily Haiku: May 2, 2018

senryu

 

maki chef roiling parasites

 

                                                           by Shellie Berkowitz  (USA)

Daily Haiku: May 1, 2018

into fog

the parallel lines

of parting

 

 

by Alegria Imperial (Canada)

Red Moon Anthology, 2014

 

Daily Haiku: April 30, 2018

senryu

girls night out
only the widow knows where
her husband is

 

 

by Carol Raisfeld  (USA)

Daily Haiku: April 29, 2018

the road home . . .
so many turns, yet still
the moon

by Carole MacRury (USA), Author
In The Company of Crows

Digregorio receives Illinois Governnor’s Commendation

by Alice Andresen

Charlotte Digregorio  recently received an Official Commendation from Illinois Governor Bruce Rauner for her 38 years of accomplishments as an author, speaker, university educator, writing judge, and exhibitor, advancing and promoting the literary arts for the benefit of adults and students nationally and internationally.

“I am very honored to have received the Governor’s Commendation for my life’s work in various writing genres, including poetry, which have brought me much fulfillment and pleasure,” Digregorio said. “I recently published my sixth book, Haiku and Senryu: A Simple Guide for All, and am often referred to as a ‘People’s Poet,’ working to bring the same popularity to literary artists as enjoyed by visual artists,” Digregorio says.

The author says that most people don’t think of reading poetry, so she exhibits her illustrated poetry– combined with painting and photography– to draw people’s attention to it. She exhibits in libraries, museums and galleries, at botanic gardens, corporate buildings, wine shops, convention centers, restaurants, theatres, apparel stores, hospitals, and banks. Her poems are also displayed in buses.

She does poetry readings and workshops in a variety of places: Buddhist Temples, tea houses, museums, nature and art centers, wine bars, hospitals, and executive office buildings, in addition to bookstores, libraries, cafes, and senior centers. She gives poetry workshops to at-risk students in the public schools who have trouble reading and writing. Further, she regularly hosts poetry open mics.

Currently, she is also a freelance journalist and gives seminars in  journalistic writing, after a career as a magazine/ newspaper editor, and university professor of languages and writing. She publishes her fiction, while working on her seventh book, a collection of her 500 published poems.

Digregorio largely uses technology to make national and international contacts. Her writers’ blog, www.charlottedigregorio.wordpress.com, includes the work of writers from 33 countries in 1,400 posts.  Poets that she has met have translated her poems into eight languages. Her poetry has been featured at readings and programs hosted by poets in Europe and Asia. These poets regularly feature her work and interview her for their blogs. Further, she records her poetry aloud online through literary organization sites. And, her poetry is featured on electronic billboards at public and university libraries.

Digregorio organizes writers’ festivals, working with municipal leaders and foreign consulates. Winner of 46 national and international poetry awards  in 12 forms, and a nominee for the Pushcart Prize, she has hosted/produced her own radio poetry program on public broadcasting. She serves on the national boards of literary organizations, and judges national writing contests in non-fiction and poetry for adults and students.

Digregorio has been  a speaker at “Career Day” and at alumni banquets at The University of Chicago, among regular speaking engagements. She is a writer-in-residence at colleges and universities.

 

Daily Haiku: April 28, 2018

Normally, we don’t run haiga (haiku combined with art), but we are making one exception today. This haiga, by Robert Epstein (USA), was done in memory of his mother on the recent one-year anniversary of her death.

Photography is by his niece, Alyson Adler.

 

Daily Haiku: April 27, 2018

midnight
i shift a moon with my breath

 

by Pere Risteski  (Macedonia)

Autumn Moon Haiku Journal, 2017

 

Red Moon Press: The Definitive Resource for English-Language Haiku Books & Related Genres

Loyal Readers and Followers:

In case you haven’t been aware of Red Moon Press, it is a valuable resource that I highly recommend. Please read below. You will find all the haiku books that you will need on its website in order to increase your knowledge about the genre, along with related genres, too.

Red Moon Press is an American publishing house located in Winchester, Virginia, specializing in haiku and related genres. It was founded by Jim Kacian in 1993 as a means of bringing English-language haiku to a broader readership.
http://www.redmoonpress.com

The press’s first book was published in 1996: endgrain is an individual collection of haiku by the expatriate UK poet Dee Evetts. It also received the first of RMP’s 35-plus major awards in the haiku field to date. In January 1997, RMP produced The Red Moon Anthology 1996, the first volume of what became an annual compendium of the best haiku and related work each calendar year.

Each Red Moon Anthology utilizes a staff of 11 editors around the world to cull, nominate and vote for inclusion. It has become the most decorated serial book in the history of English-language haiku, winning major awards on six different occasions.

In 1999, RMP created two additional series. American Haibun & Haiga, which, after three years became contemporary haibun– to reflect the growing contribution to the genres from poets and artists outside the United States– was the only serial volume which features these two genres. Haibun is prose interspersed with and/or capped by haiku. Haiga is haiku painting. The series was edited by Jim Kacian and Bruce Ross, both of whom served as editors from its inception, and Ken Jones, who joined in 2001. In 2005, RMP added contemporary haibun online to its offerings, edited by these same three, which continues to date under a new editorial team. https://contemporaryhaibunonline.com/. The print version of the series ended in 2013 after a successful 15-year run.

A New Resonance: Emerging Voices in English-Language Haiku appeared the same year and biennially since. It features the work of poets who have yet to produce a full-length volume of their own. The series has been edited by Jim Kacian and Dee Evetts since its inception, and has received major awards for four of its first seven volumes. In addition, two “yearbooks” of “New Resonance” poets have been published: Echoes 1 (2008) and Echoes 2 (2018). These volumes offer updated information and new poems from poets who have participated in the New Resonance series over the years.

A collection of hand-made chapbooks was added in 2008: the ”postscript” project honors deceased poets with brief overviews of their work, often in a bilingual format. Twenty-four poets from nine countries have been feted to this point.

Additionally, RMP produces six to eight individual collections per year,  and 18 of these volumes have received major awards. Virtually every top-rank poet of the genre has appeared in a Red Moon Press publication at some point in the past 20 years,

Anthologies

*Red Moon Anthology of English-language Haiku (series), 1996–present

*Contemporary Haibun (series), 1999–present

*A New Resonance: Emerging Voices in English-language Haiku (series), 1999–present

*the tanka anthology (edited by Michael McClintock, Pamela Miller Ness & Jim Kacian, 2003)

Selected Individual Collections

*endgrain (Dee Evetts, 1996)

*Some of the Silence (John Stevenson, 1998)

*A Week in the Lake District (John Elsberg, 1998)

*A Future Waterfall (Ban’ya Natsuishi, 1999)

*Haiku Guy (David G. Lanoue, 2000)

*gathering as the crossroads (Lenard D. Moore, 2001)

*tree & grass cairn (Santoka, translations by Hiroaki Sato, 2002)

*at the tombstone (Dimitar Anakiev, 2002)

*late geese up a dry fork (Burnell Lippy, 2003)

*A String Untouched: Haiku of Dag Hammarskjöld (translations by Kaj Falkman, 2006)

*Presents of Mind (Jim Kacian, translations into Japanese by Kon Nichi Translation Group, 2006)

*New Rising Haiku (Ito Yuki, 2007)

*waking on the bridge (Martin Shea, 2008)

*Poems of Consciousness: Contemporary Japanese and English-language Haiku in Cross-cultural Perspective (Richard Gilbert, 2008)

*the nether world (D. Claire Gallagher, 2009)

*Ksana (John Martone, 2008)

*a gate left open (Alice Frampton, 2008)

*seeds (Yu Chang, 2008)

*more wine (William Ramsey, 2009)

*as far as i can (Dietmar Tauchner, 2010)

*How to Paint the Finch’s Song (Carolyn Hall, 2010)

*everything i touch (Robert Boldman, 2010)

•inside out (Christopher Herold, 2010)

*sunrise (Peter Yovu, 2010)

*burl (Mark Harris, 2012)

*distant virga (Allan Burns, 2012)

*Book of Dreams (Steven Carter, 2012)

*A Zodiac (Paul Pfleuger, Jr., 2013)

*before music (Philip Rowland, 2013)

• Selected Haiku 1961-2012 (Tohta Kaneko, translated by the Kon Nichi Translation Group, 2013)

*Anchorage (David Cobb, 2014)

* d(ark) (John Stevenson, 2014)

*overtones (Bill Cooper, 2014)

*Songs and Stories of The Kojiki (Yoko Danno, 2014)

*contingencies (Mike Dillon, 2014)

*Elements of a Life (Rebecca Lilly, 2014)

 

 

 

Daily Haiku: April 26, 2018

Spring rain–

she answers

no

by Mike Montreuil (Canada)

bottle rockets, #15, 2006

 

Daily Haiku: April 25, 2018

s-t-r-e-t-c-h-i-n-g to attain

union with the divine

ending in corpse pose

by Sari Grandstaff  (USA)

bottle rockets, #15, 2006

 

Daily Haiku: April 24, 2018

changing the tire

on the swing–

spring equinox

by Chad Lee Robinson  (USA)

bottle rockets, #15, 2006

 

Daily Haiku: April 23, 2018

new surname
carved deeply into
summerwood

by David McMurray  (Japan), Author
Canada Project Collected Essays & Poems, Vol. 8, 2013 *

 

*Professor David McMurray has been writing the syndicated Asahi Haikuist Network column since April 1995, http://www.asahi.com/ajw/special/haiku/, first for the Asahi Evening News, including the Asahi Japan issues in California and New York, then for the Asahi International Herald Tribune, and currently for the Asahi Shimbun digital. A professor at the International University of Kagoshima in Japan, his graduate students research haiku. David won the R.H. Blyth award in 2013 for his book Canada Project Collected Essays & Poems.

Daily Haiku: April 22, 2018

senryu

doctor’s office . . .

my Dixie cup

half full, half empty

by Stanford M. Forrester,  (USA)

Modern Haiku, Vol. 37.3, Autumn 2006

 

Daily Haiku: April 21, 2018

crossing rail tracks

even the raccoon

looks both ways

by Jeffrey Winke  (USA)

Modern Haiku, Vol. 37.3, Autumn 2006

 

Daily Haiku: April 20, 2018

senryu

never get the drummer drunk

Bourbon Street

lesson

by David G. Lanoue (USA)

bottle rockets, #17, 2007

 

Daily Haiku: April 19, 2018

senryu

top honors–

the typo

in my name

by Christopher Patchel  (USA)

bottle rockets, #17, 2007

 

Daily Haiku: April 18, 2018

through the moonroof

the scent

of pear blossoms

by susan delphine delaney (USA)

bottle rockets, #17, 2007

 

Daily Haiku: April 17, 2018

SENRYU

oodles of daffodils–

the beauty of an empty vase

by Terri L. French  (USA)

bottle rockets, #25, 2011

 

Daily Haiku: April 16, 2018

the book I left

in my father’s coffin:

spring rain

by Mike Dillon (USA)

bottle rockets, #25, 2011

 

Daily Haiku: April 15, 2018

senryu

giving away
all my sins
free to good home

 

by Michael Rehling  (USA)
Hedgerow

Daily Haiku: April 14, 2018

quiet graveyard

warm breeze and an end

to alphabetic order

by LeRoy Gorman (Canada)

Modern Haiku, Vol. XXXI, No. 2, Summer 2000

 

Daily Haiku: April 13, 2018

senryu

the astronaut and

the cow sitting together

in Barbie’s car

by Michael Ketchek  (USA)

Frogpond, Vol. XXXI, No. 1, 2008

 

Haiku about Hamlet’s Ophelia

A special treat: Molly Forrester, a gifted young haikuist, age 16, is sharing her haiku which you will treasure.

 

A Nymph Takes Action

by Molly Forrester

 

love —

blinded

by the sun himself

 

flooded in thought

the damask rose

sinks

at

her

roots

 

the song of her tears . . .

each note

drifts her away

 

 

contemplation

departs

with sanity

 

 

spring showers . . .

& the flowers bloom

from her mind

 

 

fertile soil —

her frailty

buried in her father’s grave

 

still water —

action

holds no name

 

birth of spring —

her submission

died with her father

 

dove’s song

she flew

from reality

 

from insanity

the water nymph makes

her way home

 

the brook’s gurgle

drowning out the sound

of her voice

 

Poet’s Statement

 

I chose to write haiku because I thought through the natural world, I could depict Ophelia’s own nature. Haiku, a literary convention Shakespeare often implicitly uses, relates nature to the human condition; I saw a way to communicate Ophelia’s story: her transition through passiveness to action through natural depictions. I have used unconventional grammar that my father has taught over the past decade. Using a Japanese methodology, I created these poems to act as an image both on paper and in the viewer’s mind so as to elevate the audience’s understanding of Ophelia’s character. Ophelia, creative in her delusions, also inspired me to add an imaginative element to my project, for many of her sing-songs resembled the format and style of haiku. Haiku can be interpreted in multiple ways, similar to the variation on the interpretations on Ophelia’s death. To create a cohesiveness between the poems and format, I added a more flowing layout of the poems and a more decorative font. By ending some of my poems with m dashes or ellipses and creating a concrete poem, one in which the punctuation matches the desired image, the image on paper reflects the one in the observer’s head. Structurally, I narrated Ophelia’s evolution chronologically to illustrate the change of influences in her life and to show where her influences come from. I, influenced by Hamlet’s to be or not to be soliloquy, purposefully decided to make the last word of the last haiku “voice,” the essence of Ophelia’s struggle, the definition of her outward depiction.

 

Having completed my assignment by searching synonyms for words online, having Kiki and Jackie read it, having my father proofread and help with format, and editing, I pledge on my honor, that this is a responsible effort, my own work, and unique to this assignment.

                                   Molly Forrester

 

Notes:

Poem one: “Not so my lord; I am too much in the sun.” (i.2.68)

Poem two: “Show me the steep and thorny way to heaven,/ Whilst, like a puff’d and reckless libertine,/ Himself the primrose path of dalliance treafs/ And recks not hs own rede.” (i.3.51-54)

Poem three: “And in his grave rained many a tear” (iv.5.178)

Poem five: “There’s rosemary, that’s for remembrance: pray you, love, remember: and there is pansies, that’s for thoughts.” (iv.5.186-188)

Poem seven: “With his regard their currents turn awry/ And lose the name of action.” (iii.1.95-96)

Poem nine: “Fare you well my dove!” (iv.5.179)

Poem ten: “The fair Ophelia! Nymph in thy orisons/ Be all my sins remember’d.” (iii.1.97-98)

Poem eleven: A reference to Ophelia’s means of death