Week 703: I grow these white lilies, by Molly Holden

The English language may have no word that corresponds exactly to the Welsh ‘hiraeth’ or the Scots Gaelic ‘cianalas’, an overwhelming sense of love and loss felt by those exiled from a particular region dear to them, but that does not stop our poets expressing such a feeling, as Molly Holden does here, conjuring up her beloved Wiltshire downs. But though at one level this poem is clearly about actual lilies in actual landscapes, at another I think it may also be saying something about how the poet sees her own work: that her affinity is not for the luxurious and well-tended blooms grown in fertile gardens, but for those made all the more beautiful to her for being rooted in starveling soil, just as her poems have grown out of the difficult circumstances of her illness (see week 2).

I grow these white lilies

I grow these white lilies for homesickness.

Here they are set on clay, in a scoop
of midland valley, backed by a creosote fence,
luxuriant gardens. Over them droop
roses and raspberries, willow and almond tree.
This seems their element. Here they should thrive.

I grow them for this memory though – of lilies
spare as sticks, their flowers more waxenly alive
than these, by cinder paths in flat, infertile
gardens in the downs, rooted in chalk and flint,
heady and sweet by day against bare slopes,
scent and sentinel both by moonlight’s glint.

These are not they, are no compensation
for those lost lilies growing in that lost land.
But, as I reach to touch inferior petals,
I think I see the chalk beneath my hand.

Molly Holden

Week 702: From ‘Dauber’, by John Masefield

As I have observed before (see week 41), in the latter part of the last century the once acclaimed John Masefield became about as unfashionable a poet as it is possible to be, finishing his days as Poet Laureate, in which role he penned the usual dutiful piffle. But if you want a straight tale in verse told without literary sophistication yet still with considerable literary skill, Masefield remains your man, and the long poem ‘Dauber’, from which this week’s extract is taken, is one of his most accomplished. It tells the story of a young man with a burning ambition to be a painter, who takes service aboard a clipper partly for economic reasons and partly because he wants to learn how to paint the sea properly, ‘by one who really knows’.

There he finds himself adrift in a society that sets no store by his artistic talents and offers no reward for them. (Well, we’ve all been there. When my children were small I put them each on a pocket-money bonus of a 5% share in my annual royalties; this gave them, if nothing else, some useful practice in the arithmetic of the infinitesimal). Though woefully ill-fitted for the hard nautical life, Dauber does his best to do what is required of him, and eventually earns some grudging respect, only to fall to his death in a race to the riggings to adjust the sails in a storm. His last words are a defiant ‘It will go on’, referring to his faith both that beauty will endure and that there will always be those who wish to capture it.

The following stanzas capture vividly his fall from height.

From ‘Dauber’

There came a gust, the sail leaped from his hands,

So that he saw it high above him, grey,
And there his mate was falling; quick he clutched
An arm in oilskins swiftly snatched away.
A voice said ‘Christ!’ a quick shape stooped and touched.
Chain struck his hands, ropes shot, the sky was smutched
With vast black fires that ran, that fell, that furled,
And then he saw the mast, the small snow hurled,

The fore-topgallant yard far, far aloft,
And blankness settling on him and great pain;
And snow beneath his fingers wet and soft
And topsail-sheet-blocks shaking at the chain.
He knew it was he who had fallen; then his brain
Swirled in a circle while he watched the sky.
Infinite multitudes of snow blew by.

‘I thought it was Tom who fell,’ his brain’s voice said.
‘Down on the bloody deck!’ the Captain screamed.
The multitudinous little snow-flakes sped.
His pain was real enough, but all else seemed.
Si with a bucket ran, the water gleamed
Tilting upon him; others came, the Mate …
They knelt with eager eyes like things that wait

For other things to come. He saw them there.
‘It will go on,’ he murmured, watching Si.
Colours and sounds seemed mixing in the air,
The pain was stunning him, and the wind went by.
‘More water,’ said the Mate. ‘Here, Bosun, try.
Ask if he’s got a message. Hell, he’s gone!
Here, Dauber, paints.’ He said, ‘It will go on.’

Not knowing his meaning rightly, but he spoke
With the intenseness of a fading soul
Whose share of Nature’s fire turns to smoke,
Whose hand on Nature’s wheel loses control.
The eager faces glowered red like coal.
They glowed, the great storm glowed, the sails, the mast.
‘It will go on,’ he cried aloud, and passed.

John Masefield

Week 701: The Need of Being Versed in Country Things, by Robert Frost

Much as I like this poem by Robert Frost with its easy rhythms and neat descriptive touches, I regretfully have to point out that saying a thing well doesn’t make it true and that the last two lines sound like a piece of proverbial wisdom that like many pieces of proverbial wisdom doesn’t bear too much scrutiny. ‘One had to be versed in country things/Not to believe the phoebes wept’. On the contrary there must be innumerable town-dwelling folk who may not know much about the countryside and wouldn’t recognise a phoebe (a kind of American flycatcher) if one came and sat on their head but who would nonetheless be highly sceptical of the idea that birds could be in any way empathetic towards human loss, let alone weep for it.

The Need of Being Versed in Country Things

The house had gone to bring again
To the midnight sky a sunset glow.
Now the chimney was all of the house that stood,
Like a pistil after the petals go.

The barn opposed across the way,
That would have joined the house in flame
Had it been the will of the wind, was left
To bear forsaken the place’s name.

No more it opened with all one end
For teams that came by the stony road
To drum on the floor with scurrying hoofs
And brush the mow with the summer load.

The birds that came to it through the air
At broken windows flew out and in,
Their murmur more like the sigh we sigh
From too much dwelling on what has been.

Yet for them the lilac renewed its leaf,
And the aged elm, though touched with fire;
And the dry pump flung up an awkward arm;
And the fence post carried a strand of wire.

For them there was really nothing sad.
But though they rejoiced in the nest they kept,
One had to be versed in country things
Not to believe the phoebes wept.

Robert Frost