Week 609: The Colour of His Hair, by A.E.Housman

This week’s choice follows on fairly naturally from last week’s in that A.E.Housman, himself a lifelong closet homosexual, wrote this savagely ironic denunciation of the laws and attitudes then prevailing in response to the trial and imprisonment of Oscar Wilde: it is easy to forget just how much of a social and indeed criminal stigma attached to homosexuality only a couple of generations ago. I don’t myself have a dog in this fight, but for what it’s worth see no reason to quarrel with the consensus now prevailing, at least in the West, that what really matters about people is that they should be kind, honest and reliable and that when it comes to consenting adults there are more things in this world to get exercised about (and indeed, more interesting things to think about) than other people’s sexual proclivities.

Due to the climate of the time Housman felt obliged to suppress its publication until after his death in 1936, and of course it still took many years after that before certain hair colours became acceptable.

poll: the part of the head on which hair grows
haling: dragging, esp. with force or violence
oakum: a preparation of tarred fibres used to seal gaps e.g. between planks in ships. At one time it was recycled from old tarry ropes, and the job of doing this was given to prisoners deemed unsuitable for heavier labour. It was a much hated task, causing the fingers to bleed.
Portland: a tied island in the English Channel, connected to the mainland by Chesil Beach, and the source of Portland limestone, a much-prized building stone that continues to be quarried there.

The Colour of His Hair

Oh who is that young sinner with the handcuffs on his wrists?
And what has he been after, that they groan and shake their fists?
And wherefore is he wearing such a conscience-stricken air?
Oh they’re taking him to prison for the colour of his hair.

’Tis a shame to human nature, such a head of hair as his;
In the good old time ’twas hanging for the colour that it is;
Though hanging isn’t bad enough and flaying would be fair
For the nameless and abominable colour of his hair.

Oh a deal of pains he’s taken and a pretty price he’s paid
To hide his poll or dye it of a mentionable shade;
But they’ve pulled the beggar’s hat off for the world to see and stare,
And they’re haling him to justice for the colour of his hair.

Now ’tis oakum for his fingers and the treadmill for his feet,
And the quarry-gang on Portland in the cold and in the heat,
And between his spells of labour in the time he has to spare
He can curse the God that made him for the colour of his hair.

A.E.Housman

Week 608: From ‘The Ballad of Reading Gaol’, by Oscar Wilde

I confess to not in general having much time for the work of Oscar Wilde. I find the witticisms too carefully manufactured and the plays tediously unfunny, though I admit that as the chandelier episode in ‘Only Fools and Horses’ had me rolling on the floor it may be that my sense of humour lacks a certain sophistication. But my real problem with Wilde’s work is the feeling it gives me that he either doesn’t believe what he’s saying or he hasn’t thought it through enough. Those aphorisms seem designed to appeal to the adolescent in us: neatly subversive and without too much in the way of nuance to tax our underdeveloped brains. ‘For each man kills the thing he loves…’ Well, of course he doesn’t. The world is full of people who do a pretty good lifelong job of cherishing the thing they love, whether a partner, children, dogs, music, ageing donkeys or a patch of woodland… But this said, I think we can grant that the poem in which that doubtful sentiment appears, ‘The Ballad of Reading Gaol’, still has considerable power. It appeared in 1896, and was inspired by a time that Wilde spent in the gaol for what was then perceived as ‘gross indecency’. It is a long poem, full of anger and pity, of which I give only the opening stanzas. The fellow who had to swing was one Charles Thomas Wooldridge, a trooper in the Royal Horse Guards who had murdered his estranged wife; Wilde never met him but would observe him at exercise in the prison yard, and was deeply moved by his demeanour. It is as if life had finally got Oscar in a corner and said ‘Right, let’s see what you’re really made of’. And it turned out Oscar really was made of something.

Incidentally Reading Gaol, which I used to pass every day on my way to work, closed as a prison in 2014, and after various unsuccessful attempts to develop it as an arts hub was finally sold in January this year to a Chinese educational foundation. I don’t know what Oscar would make of that, but no doubt he would have something to say.

From ‘The Ballad of Reading Gaol’

He did not wear his scarlet coat,
For blood and wine are red,
And blood and wine were on his hands
When they found him with the dead,
The poor dead woman whom he loved,
And murdered in her bed.

He walked amongst the Trial Men
In a suit of shabby gray;
A cricket cap was on his head,
And his step seemed light and gay;
But I never saw a man who looked
So wistfully at the day.

I never saw a man who looked
With such a wistful eye
Upon that little tent of blue
Which prisoners call the sky,
And at every drifting cloud that went
With sails of silver by.

I walked, with other souls in pain,
Within another ring,
And was wondering if the man had done
A great or little thing,
When a voice behind me whispered low,
‘That fellow’s got to swing.’

Dear Christ! the very prison walls
Suddenly seemed to reel,
And the sky above my head became
Like a casque of scorching steel;
And, though I was a soul in pain,
My pain I could not feel.

I only knew what hunted thought
Quickened his step, and why
He looked upon the garish day
With such a wistful eye;
The man had killed the thing he loved,
And so he had to die.

Yet each man kills the thing he loves,
By each let this be heard,
Some do it with a bitter look,
Some with a flattering word,
The coward does it with a kiss,
The brave man with a sword!

Oscar Wilde

Week 607: At The Gate, by Robert Graves

This touching but slightly enigmatic lyric is one of Robert Graves’s final poems, written not long before the dementia twilight of his last years, and haunted by the consciousness that his powers and memories were slipping away from him, like a handful of dry sand trickling grain by grain between the fingers, however tight the grasp that tries to retain them.

It presents, at least for me, some challenges of interpretation. The first stanza is perfectly clear, but then things become more difficult. ‘Grappling a monster never seen before’ – this sounds to me like a scene from Greek myth, on which Graves was an authority, but I can’t quite place it. Echoes maybe of Nike, sometimes seen as an aspect of Athene, helping Zeus in his battle with the Titans? Or even of the Indian demon-slaying goddess Durga? Anyway, I take it to be an image of his Muse, representing beauty, order and clarity, struggling against the chaos threatening to overwhelm his mind, while Graves himself, rather pathetically, not only feels guilt at the situation but feels that she is holding him accountable.

And then I find the last line problematic. ‘Stealing green leaves to light an alien fire’. What’s this about? If you want to start a fire, green leaves do not seem a very good choice of material, but setting that aside, is this Graves’s way of saying that he has always been true to his poetic faith, where the ‘green leaves’ represent poetry – of protesting that he has never ignored the Muse’s calls upon him nor betrayed her by using his gift in the service of anything else, the ‘alien fire’ representing as it were an offering to some other divinity? (Incidentally, as far as the green leaves go, I am minded here of a beautiful image in R.S.Thomas’s poem ‘Prayer’: ‘the tree of poetry/that is eternity wearing/the green leaves of time’).

Anyway, an intriguing and moving poem, and if anyone has any better ideas about its imagery I should be glad to hear them.

At The Gate

Where are poems? Why do I now write none?
This can mean no lack of pens, nor lack of love,
But need perhaps of an increased magic –
Where have my ancient powers suddenly gone?

Tonight I caught a glimpse of her at the gate
Grappling a monster never seen before,
And jerking back its head. Had I come too late?
Her eyes blazed fire and I could look no more.

What could she hold against me? Never yet
Had I lied to her or thwarted her desire,
Rejecting prayers that I could never forget,
Stealing green leaves to light an alien fire.

Robert Graves

Week 606: Muse, by Anna Akhmatova

The tragic life of the great Russian poet Anna Akhmatova (1889-1966) will no doubt be familiar to many of my readers: censored and vilified by the Stalinist regime, her first husband executed, her son and her second husband imprisoned for years in a gulag, she steadfastly refused to leave Russia and continued to bear witness to her times in poems many of which could be circulated only among friends on scraps of paper, to be memorised and then burnt lest they should fall into the wrong hands.

‘The Muse’ is one of her most famous short poems. I can think of few poets with the right to make the laconic claim that concludes it: in most it would seem like a colossal chutzpah. But if such a right can be earned by long endurance and long devotion, then Akhmatova surely had it.

The translation that follows is my own.

Муза

Когда я ночью жду ее прихода,
Жизнь, кажется, висит на волоске.
Что почести, что юность, что свобода
Пред милой гостьей с дудочкой в руке.

И вот вошла. Откинув покрывало,
Внимательно взглянула на меня.
Ей говорю: «Ты ль Данту диктовала
Страницы Ада?» Отвечает: «Я».

Анна Ахматова

Muse

In the night I wait for her, my life
Suspended now upon a single strand.
Not fame, not youth, not freedom can match this
Beloved guest who comes with flute in hand.

And now she enters. Casting back her veil
She looks me through with long attentiveness.
I say, ‘Are you the one who guided Dante,
Who gave him the pages of Hell?’ She answers ‘Yes’.