Week 418: From ‘L’Enfant de la Haute Mer’, by Jules Supervielle

This is the concluding paragraph of a very strange, visionary short story by the French poet Jules Supervielle, about a sailor who one night, by the intensity of his longing to see his dead daughter again, conjures her into a kind of being, out on the ocean. The idea itself is not entirely original – in Tibetan Buddhism, for example, we find the concept of the tulpa, a being created by the exercise of spiritual or mental powers, capable of feeling and some autonomy of action. What is original is Supervielle’s imaginative empathy for such a creature. Generally I am not a great fan of literary work that can be characterised as fey, or, less kindly, as a bit daft, but I do find that there is something haunting about this particular story. Supervielle suffered for much of his life from poor health and a consequent fear of death – this was someone who speaks of holding his hand over a candle flame to reassure himself that he was still alive – so it may be that he projected some of his own state on to this creature poised between life and death, and it is this, along with the hypnotic cadences of its prose, that gives the story its power.

The translation that follows is my own.

‘Marins qui rêvez en haute mer, les coudes appuyés sur la lisse, craignez de penser longtemps dans le noir de la nuit à un visage aimé. Vous risqueriez de donner naissance, dans des lieux essentiellement désertiques, à un être doué de toute la sensibilité humaine et qui ne peut pas vivre ni mourir, ni aimer, et souffre pourtant comme s’il vivait, aimait et se trouvait toujours sur le point de mourir, un être infiniment déshérité dans les solitudes aquatiques, comme cette enfant de l’Océan, née un jour du cerveau de Charles Liévens, de Steenvoorde, matelot de pont du quatre-mâts Le Hardi, qui avait perdu sa fille âgée de douze ans, pendant un de ses voyages, et, une nuit, par 55 degrés de latitude Nord et 35 de longitude Ouest, pensa longuement à elle, avec une force terrible, pour le grand malheur de cette enfant’.

‘Sailors who dream out on the wide ocean, your elbows propped on the rail, beware of thinking too long in the dark of the night of a face beloved. You will risk giving birth, in these wholly desert places, to a being endowed with all human feeling that can neither live nor die, but suffers as if it lived, loved and found itself always on the point of death, a being infinitely disinherited in the watery solitudes, like this child of the Ocean, born one day from the brain of Charles Lievens, of Steenvorde, sailor on the bridge of the four-masted Le Hardi, who had during one of his voyages lost his daughter of twelve years old, and one night, at latitude 55 degrees north and longitude 35 degrees west, thought long of her, with a terrible strength, to this child’s great misfortune’.

Week 417: Advice to a Prophet, by Richard Wilbur

This poem was written when the dominant fear for mankind was the threat of nuclear war: that threat may have receded a little, in our consciousness if not necessarily in reality, but only to be replaced by the realisation that when it comes to inflicting irreparable harm on our natural environment, attrition in the end works just as well as Armageddon. It’s a fine poem, but the problem I have with it now is a feeling that this may be one occasion where Wilbur’s restraint, his cool elegance of diction, work against him: that the time for the courtly elegiac is past and what we need now are words of fire and rage.

Advice to a Prophet

When you come, as you soon must, to the streets of our city,
Mad-eyed from stating the obvious,
Not proclaiming our fall but begging us
In God’s name to have self-pity,

Spare us all word of the weapons, their force and range,
The long numbers that rocket the mind;
Our slow, unreckoning hearts will be left behind,
Unable to fear what is too strange.

Nor shall you scare us with talk of the death of the race.
How should we dream of this place without us?
The sun mere fire, the leaves untroubled about us,
A stone look on the stone’s face?

Speak of the world’s own change. Though we cannot conceive
Of an undreamt thing, we know to our cost
How the dreamt cloud crumbles, the vines are blackened by frost,
How the view alters. We could believe,

If you told us so, that the white-tailed deer will slip
Into perfect shade, grown perfectly shy,
The lark avoid the reaches of our eye,
The jack-pine lose its knuckled grip

On the cold ledge, and every torrent burn
As Xanthus once, its gliding trout
Stunned in a twinkling. What should we be without
The dolphin’s arc, the dove’s return,

These things in which we have seen ourselves and spoken?
Ask us, prophet, how we shall call
Our natures forth when that live tongue is all
Dispelled, that glass obscured or broken

In which we have said the rose of our love and the clean
Horse of our courage, in which beheld
The singing locust of the soul unshelled,
And all we mean or wish to mean.

Ask us, ask us whether with the worldless rose
Our hearts shall fail us; come demanding
Whether there shall be lofty or long standing
When the bronze annals of the oak-tree close.

Richard Wilbur

Week 416: The Wild Iris, by Louise Gluck

I confess that until last week’s news that she had won the Nobel Prize for literature I had not heard of the American poet Louise Gluck (oh, come on, David, do keep up), but I soon found a good selection of her work online. Some poets possess you immediately, some you need to live with for a while: at the moment I don’t feel I’ve quite tuned in to these spare, mythic poems but I’ve made a good start with this one, the title poem from a 1992 collection.

The Wild Iris

At the end of my suffering
there was a door.

Hear me out: that which you call death
I remember.

Overhead, noises, branches of the pine shifting.
Then nothing. The weak sun
flickered over the dry surface.

It is terrible to survive
as consciousness
buried in the dark earth.

Then it was over: that which you fear, being
a soul and unable
to speak, ending abruptly, the stiff earth
bending a little. And what I took to be
birds darting in low shrubs.

You who do not remember
passage from the other world
I tell you I could speak again: whatever
returns from oblivion returns
to find a voice:

from the center of my life came
a great fountain, deep blue
shadows on azure seawater.

Louise Gluck

Week 415: The Persian Version, by Robert Graves

I see that in this blog so far I have rarely if ever featured the poetry of wit and humour, despite the fact that I relish a well-turned parody or satire as much as anyone, so here to make some amends is a report on the Battle of Marathon as seen from the Persian point of view. Robert Graves, though primarily a love poet, could also be very funny – as witness, for example, the poem ‘Welsh Incident’ – and here he takes aim at political/military spin, though in my experience the satire could equally apply to the desperate quest for morale-boosting positivity engaged in by corporate bodies generally.

The Persian Version

Truth-loving Persians do not dwell upon
The trivial skirmish fought near Marathon.
As for the Greek theatrical tradition
Which represents that summer’s expedition
Not as a mere reconnaissance in force
By three brigades of foot and one of horse
(Their left flank covered by some obsolete
Light craft detached from the main Persian fleet)
But as a grandiose, ill-starred attempt
To conquer Greece – they treat it with contempt;
And only incidentally refute
Major Greek claims, by stressing what repute
The Persian monarch and the Persian nation
Won by this salutary demonstration:
Despite a strong defence and adverse weather
All arms combined magnificently together.

Robert Graves

Week 414: If I Should Ever by Chance, by Edward Thomas

I find this poem a pure delight. For one thing it is, uncharacteristically for Edward Thomas, an essentially happy poem, even if the happiness is tinged with wistfulness: ‘If I should ever by chance grow rich’ – Thomas knew quite well that he was never going to grow rich, certainly not rich enough to own a tract of English countryside, having chosen the penurious life of a literary hack.

Then there are the field names: Codham, Roses, Pyrgo. Thomas loved to pore over maps finding these curious old appellations, so expressive of our ancient, many-layered, parcelled-out countryside, and letting them conjure up for him memories and visions of the landscape he was so intimate with. And there is the playful relationship in the poem with his small daughter Bronwen, the only one who could lighten his black moods, the one he would take on his spring walks, competing with her to find the first flowers of the year. So it is a light rent that he imagines asking of her first, and then really no rent at all, since it would be quite difficult not to find a blossom on furze at any time of year: hence the country saying ‘When gorse is out of bloom, kissing’s out of season’.

Happy, I called it, if  a little wistful. Yet I suspect that for the Thomas family, after Edward’s death in France in 1917, there must have been a sadness beyond wistfulness about this particular poem, having to stand as it did for all the things a father might have wished to give to a daughter whose growing up he was never to see.

If I Should Ever by Chance

If I should ever by chance grow rich
I’ll buy Codham, Cockridden, and Childerditch,
Roses, Pyrgo, and Lapwater,
And let them all to my elder daughter.
The rent I shall ask of her will be only
Each year’s first violets, white and lonely,
The first primroses and orchises –
She must find them before I do, that is.
But if she finds a blossom on furze
Without rent they shall all for ever be hers,
Whenever I am sufficiently rich:
Codham, Cockridden, and Childerditch,
Roses, Pyrgo and Lapwater, –
I shall give them all to my elder daughter.

Edward Thomas