Week 670: The Other, by Edward Thomas

‘The Other’ is one of Edward Thomas’s earliest poems, written towards the end of 1914, and also one of his longest, about his sense of there always being a doppelganger or alter ego somewhere ahead of him that he can never quite catch up with. I don’t think that the poem as a whole quite comes off: it is a little prolix and uncertain, as if the poet himself is not sure what he is trying to say, and later his poems would become much more distilled. But as usual with Thomas it has some fine lyrical touches, especially in its evocation of a wild twilight in stanzas seven and eight.

Edward Thomas came my way once, in the summer of 1911, when he was researching material for one of his commissioned books on the countryside, ‘The Icknield Way’, making forays on foot or by bicycle along the length of the ancient trackway. On the day in question he had come down from Edlesborough in the north, following the course of the Way by lane and footpath through Wendover, Swyncombe, Ewelme and across Grim’s Ditch, until about evening he passed by Ipsden with its ‘little, solitary church’, continued down a rough road that dwindled to a footpath, and turned west to follow ‘a hard and hedgeless road, winding and undulating through corn that rises on either side to a crested ridge’. He crossed the Woodcote-Crowmarsh road (I guess at the turn out from Braziers Park), came along by Ivol Barn, across the crossroads at the foot of South Stoke Road, up Catsbrain Hill and so saw before him ‘the red roofs and walls of suburban Cleeve, and the Berkshire downs’. For some reason Edward did not take to Cleeve at all, which I have always thought a rather pleasant place with its tree-lined roads. Perhaps it was the end of a long day, and he was tired and far from home, but for whatever reason it triggered in him one of those fits of melancholy that characterised his temperament, and he let fly with a diatribe against the ‘blocks of redbrick houses’, wondering how people could bear to live in so spiritless a place.

Now I know that section of road over the upland to Cleeve intimately, since it forms part of one of my standard 10K loops from home, that I have run a hundred times, on harvest evenings, in winter moonlight. Sometimes, as twilight comes down over the ploughland, I have seen in my mind’s eye that figure in front of me on his lonely road, bitter with knowledge of the wasted power within him, and I have wished that time could be different, that one could go back and tell him that now, an unimaginable century on, he is where he would have wished to be, secure in his honour among the English poets. But of course, the future can say nothing to the past.

The Other

The forest ended. Glad I was
To feel the light, and hear the hum
Of bees, and smell the drying grass
And the sweet mint, because I had come
To an end of forest, and because
Here was both road and inn, the sum
Of what’s not forest. But ‘twas here
They asked me if I did not pass
Yesterday this way. ‘Not you? Queer.’
‘Who then? and slept here?’ I felt fear.

I learnt his road and, ere they were
Sure I was I, left the dark wood
Behind, kestrel and woodpecker,
The inn in the sun, the happy mood
When first I tasted sunlight there.
I travelled fast, in hopes I should.
Outrun that other. What to do
When caught, I planned not. I pursued
To prove the likeness, and, if true,
To watch until myself I knew.

I tried the inns that evening
Of a long gabled high-street grey,
Of courts and outskirts, travelling
An eager but a weary way,
In vain. He was not there. Nothing
Told me that ever till that day
Had one like me entered those doors,
Save once. That time I dared: ‘You may
Recall; – but never-foamless shores
Make better friends than those dull boors.

Many and many a day like this
Aimed at the unseen moving goal
ttAnd nothing found but remedies
For all desire. These made not whole;
They sowed a new desire, to kiss
Desire’s self beyond control,
Desire of desire. And yet
Life stayed on within my soul.
One night in sheltering from the wet
I quite forgot I could forget.

A customer, then the landlady
Stared at me. With a kind of smile
They hesitated awkwardly:
Their silence gave me time for guile.
Had anyone called there like me,
I asked. It was quite plain the wile
Succeeded. For they poured out all.
And that was naught. Less than a mile
Beyond the inn, I could recall
He was like me in general.

He had pleased them, but I less.
I was more eager than before
To find him out and to confess,
To bore him and to let him bore.
I could not wait: children might guess
I had a purpose, something more
That made an answer indiscreet.
One girl’s caution made me sore,
Too indignant even to greet
That other had we chanced to meet.

I sought then in solitude.
The wind had fallen with the night; as still
The roads lay as the ploughland rude,
Dark and naked, on the hill.
Had there been ever any feud
‘Twixt earth and sky, a mighty will
Closed it: the crocketed dark trees,
A dark house, dark impossible
Cloud-towers, one star, one lamp, one peace
Held on an everlasting lease:

And all was earth’s, or all was sky’s;
No difference endured between
The two. A dog barked on a hidden rise;
A marshbird whistled high unseen;
The latest waking blackbird’s cries
Perished upon the silence keen.
The last light filled a narrow firth
Among the clouds. I stood serene,
And with a solemn quiet mirth,
An old inhabitant of earth.

Once the name I gave to hours
Like this was melancholy, when
It was not happiness and powers
Coming like exiles home again,
And weaknesses quitting their bowers,
Smiled and enjoyed, far off from men,
Moments of everlastingness.
And fortunate my search was then
While what I sought, nevertheless,
That I was seeking, I did not guess.

That time was brief: once more at inn
And upon road I sought my man
Till once amid a tap-room’s din
Loudly he asked for me, began
To speak, as if it had been a sin,
Of how I thought and dreamed and ran
After him thus, day after day:
He lived as one under a ban
For this: what had I got to say?
I said nothing. I slipped away.

And now I dare not follow after
Too close. I try to keep in sight,
Dreading his frown and worse his laughter.
I steal out of the wood to light;
I see the swift shoot from the rafter
By the inn door: ere I alight
I wait and hear the starlings wheeze
And nibble like ducks: I wait his flight.
He goes: I follow: no release
Until he ceases. Then I also shall cease.

Edward Thomas

Week 669: The Grenadier and the Lady, by Anon

This week what I consider to be one of the most beautiful of English folksongs, and which I was prompted to feature by the news of the death of the actor Terence Stamp: many will remember how in the 1967 film version of ‘Far From The Madding Crowd’ an abbreviated version is sung hauntingly by Isla Cameron as an accompaniment to Sergeant Troy’s despairing efforts to put flowers on Fanny Robin’s grave.

The theme of maidens deceived by dodgy characters taking them for walks by the waterside is a common one in folksong: compare, for example, ‘Bogie’s Bonny Belle’ and ‘Willie Archer’, both fine songs but neither of which achieve quite the same combination of ribald innuendo and arcadian innocence. The song gains further poignancy from the fact that these days you would go a long way to find a clear crystal stream that hasn’t been polluted by industrial runoff or sewage, while your chances of ever hearing a nightingale have also become slight due to habitat loss.

The tune is constant, but as usual the words appear to exist in many versions, and I have chosen the one I am most familiar with, as sung by Polly Bolton on her album ‘Songs From A Cold Open Field’.

The Grenadier and the Lady

As I was a walking one morning in May
I spied a young couple a-making the hay.
One was a fair maid, and her beauty shone clear
And the other one was a soldier, and a bold Grenadier.

A-walking and a-talking and a-walking together,
A-walking so far till they couldn’t tell whither,
Till they sat themselves down by a clear crystal stream
For to see the flowers grow and hear the nightingales sing.

Then with kisses and with compliments he took her round the middle
And out of his knapsack he drew forth his fiddle,
And he played her such a fine tune as made the valleys all ring.
‘Hark, hark’, said the maiden, ‘hear the nightingales sing’.

‘O come’ said the soldier, ‘it is time to give o’er’.
‘Ah no’, said the fair maid, ‘please play one tune more.
For I do like your music and the touch of your string
And I do like to see the flowers grow and hear the nightingales sing’.

‘Then come’, said the fair maid, ‘will you marry me?’
’Ah, no’, said the soldier, ‘that never can be,
For I’ve got a wife in my own country
And so fair a woman as you ever did see.

‘I’ve got a wife there, and I’ve got children three.
Two wives in the army’s too many for me.
But if ever I return again it’ll be in the spring:
I’ll come to see the flowers grow and hear the nightingales sing’.

Anon

Week 668: Memory, by W.B.Yeats

Like much of Yeats, this little poem slips into the memory fairly effortlessly, and the play on the word ‘form’, used here as the correct precise term for a hare’s nest as well in the general sense, is nice. But I do have problems with it, in that the image of the hare’s form, though a charming one, doesn’t really work for me. Clearly it is meant to convey the idea that one particular woman (presumably Maud Gonne) had made such an impression on the poet’s mind that it could never fade or she be replaced. But hares are light, and grass is springy stuff and grows quickly. How long does the mark a hare leaves in grass actually last? I give it a week or two at best – not much of a tribute to poor Maud.

Maybe I am wrong to worry about this sort of thing, yet it seems to me that a poem should not only be neat and sound good, but should stand up to practical scrutiny at every level. Of course, I may be wrong and hares, those creatures of magic and fable, may make more of a lasting impression on the landscape than I imagine. Any leporine experts out there?

Memory

One had a lovely face,
And two or three had charm,
But charm and face were in vain
Because the mountain grass
Cannot but keep the form
Where the mountain hare has lain.

W.B.Yeats


Week 667: Surview, by Thomas Hardy

This week an affecting expression of the kind of regret that seems sadly common to poets as they age, a regret for, as T.S.Eliot puts it, ‘things ill done or done to others’ harm’, or in Philip Larkin’s words,The good not done, the love not given, time/Torn off unused’.

It strikes me that the trigger for this reverie is one that few will now experience, for how many of us these days have open fires? But certainly I remember from my childhood that time in the late evening when the fire had been left to burn down and one could lose oneself in gazing into it, as into an enchanted landscape of fiery plains and red-gold caves. Of course, open fires were dangerous, time-consuming and wildly inefficient, but with their demise a little of the poetry went out of the world.

Cogitavi vias meas: ‘I thought of my ways’, a quote from the Latin version of Psalm 118.

‘green-grained’ – I assume that this choice of epithet refers to the sticks still having some sap in them, causing them to hiss and sputter as they burn in a way that reminds the poet of a human voice.

Surview

‘Cogitavi vias meas’

A cry from the green-grained sticks of the fire
Made me gaze where it seemed to be:
‘Twas my own voice talking therefrom to me
On how I had walked when my sun was higher –
My heart in its arrogancy.

You held not to whatsoever was true,’
Said my own voice talking to me:
Whatsoever was just you were slack to see;
Kept not things lovely and pure in view
,’
Said my own voice talking to me.

You slighted her that endureth all,’
Said my own voice talking to me;
Vaunteth not, trusteth hopefully;
That suffereth long and is kind withal
,’
Said my own voice talking to me.

You taught not that which you set about,’
Said my own voice talking to me;
That the greatest of things is Charity…’
And the sticks burnt low, and the fire went out,
And my voice ceased talking to me.

Thomas Hardy

Week 666: Delay, by Elizabeth Jennings

This is a neat little poem, and the astronomical facts are certainly accurate, but I find it hard to pin down Elizabeth Jennings’s exact thought processes here. Is she thinking of poetic fame, which may take years to arrive, and when it does may indeed find us somewhere else, like, well, dead? The poems of Edward Thomas, for example were barely noticed in his lifetime, and it was not until many years after his death that he became the beloved figure he is now.

Or is there a more specific personal narrative at work here? For example, did the poet once love another who did not reciprocate her feelings until it was too late, when she had moved on and become a different person?

In any event, even if we ourselves may have no such prospect or no such narrative, the poem may still give us incidental cause to reflect on the chance nature of love: on how we come down through life bouncing like a pinball from one accidental circumstance to another. I imagine most of us can frame a thousand scenarios in which we never met our partner: never worked for the same organisation, or attended the same school, or got on the same bus, or went to the same party, all leading to a life unknowably different, in which there perhaps never was another for our eyes, as the poem puts it, to claim as beautiful.

Delay

The radiance of the star that leans on me
Was shining years ago. The light that now
Glitters up there my eyes may never see,
And so the time lag teases me with how

Love that loves now may not reach me until
Its first desire is spent. The star’s impulse
Must wait for eyes to claim it beautiful
And love arrived may find us somewhere else.

Elizabeth Jennings