This week’s offer is two poems that are strikingly similar in concept, both using the unrest of birds as a trope for marital disharmony, but widely different in style, Ransom’s ornate patrician gravity contrasting with Frost’s plain-spoken simplicity. I like both poems, though my personal kinship would be more with the Frost. Incidentally I would not think that one poem necessarily influenced the other: it seems a thought that could easily occur independently.

Hackberry: a deciduous tree native to North America, producing small berries in autumn that provide food for birds.

Two in August

Two that could not have lived their single lives
As can some husbands and wives
Did something strange: they tensed their vocal cords
And attacked each other with silences and words
Like catapulted stones and arrowed knives.

Dawn was not yet; night is for loving or sleeping,
Sweet dreams or safekeeping;
Yet he of the wide brows that were used to laurel
And she, the famed for gentleness, must quarrel.
Furious both of them, and scared, and weeping.

How sleepers groan, twitch, wake to such a mood
Is not well understood,
Nor why two entities grown almost one
Should rend and murder trying to get undone,
With individual tigers in their blood.

She in terror fled from the marriage chamber
Circuiting the dark rooms like a string of amber
Round and round and back,
And would not light one lamp against the black,
And heard the clock that clanged: Remember, Remember.

And he must tread barefooted the dim lawn,
Soon he was up and gone;
High in the trees the night-mastered birds were crying
With fear upon their tongues, no singing nor flying
Which are their lovely attitudes by dawn.

Whether those bird-cries were of heaven or hell
There is no way to tell;
In the long ditch of darkness the man walked
Under the hackberry trees where the birds talked
With words too sad and strange to syllable.

John Crowe Ransom

The Thatch

Out alone in the winter rain,
Intent on giving and taking pain.
But never was I far out of sight
Of a certain upper-window light.
The light was what it was all about:
I would not go in till the light went out;
It would not go out till I came in.
Well, we should see which one would win,
We should see which one would be the first to yield.
The world was a black invisible field.
The rain by rights was snow for cold.
The wind was another layer of mold.
But the strangest thing: in the thick old thatch,
Where summer birds had been given hatch,
Had fed in chorus, and lived to fledge,
Some still were living in hermitage.
And as I passed along the eaves
So low I brushed the straw with my sleeves,
I flushed birds out of hole after hole,
Into the darkness. It grieved my soul,
It started a gried within a grief,
To think their case was beyond relief –
They could not go flying about in search
Of their nest again, nor find a perch.
They must brood where they fell in mulch and mire,
Trusting feathers and inwad fire
Till daylight made it safe for a flyer.
My greater grief was by so much reduced
As I thought of them without nest or roost.
That was how that grief started to melt.
They tell me the cottage where we dwelt,
Its wind-torn thatch goes now unmended;
Its life of hundreds of years has ended
By letting the rain I knew outdoors
In onto the upper chamber floors.

Robert Frost