Week 706: Bat, by D.H.Lawrence

It is apparent from this poem that D.H.Lawrence didn’t much like bats, but that didn’t stop him from doing a virtuoso job of portraying them in this poem from his collection ‘Birds, Beasts and Flowers’. How well that image of ‘a black glove thrown up at the light,/And falling back’ captures their elastic flight.

Personally I have always been a bit of a chiropterophile. As a small child I liked to go into the field at the bottom of our garden and watch them at dusk in summer, hawking for insects in the warm air, both bats and insects being far more abundant back then. In those days I could hear them too, an eery thin piping from above. And I shall never forget an evening down in Wales when my son took us to Stackpole Field Centre near his home in Pembrokeshire to watch the bats come out at dusk. It seems that up in the roof under its archway was and maybe still is the main summer roost for about four hundred greater horseshoe bats: they spend the winter in limestone caves on the coast, move to Carew Castle in the spring and then come here. Each evening they stream out from the roost and set off across country on their nocturnal hunt for insects, which can take them as far as north Pembrokeshire. It was certainly an amazing spectacle: I had seen perhaps a dozen bats together before but never anything like this. At first there were only three or four, fluttering below the archway like great black butterflies in the twilight, but then more and more appeared and the butterflies turned to a swirling blizzard of black snowflakes. We sat on the grass near the hedge that served as their flight-path, and one by one they flickered past, a scrambled squadron of small jet fighters, yet more agile than any plane, detecting us at the last second as they rounded the hedge and passed over and round us with an effortless swerve: I thought of the play of Sergeant Troy’s sword round Bathsheba in ‘Far From The Madding Crowd’.

But over to Lawrence and his masterful imagery…

Bat

At evening, sitting on this terrace,
When the sun from the west, beyond Pisa, beyond the mountains of Carrara
Departs, and the world is taken by surprise …

When the tired flower of Florence is in gloom beneath the glowing
Brown hills surrounding …

When under the arches of the Ponte Vecchio
A green light enters against stream, flush from the west,
Against the current of obscure Arno …

Look up, and you see things flying
Between the day and the night;
Swallows with spools of dark thread sewing the shadows together.

A circle swoop, and a quick parabola under the bridge arches
Where light pushes through;
A sudden turning upon itself of a thing in the air.
A dip to the water.

And you think:
’The swallows are flying so late!’

Swallows?

Dark air-life looping
Yet missing the pure loop …
A twitch, a twitter, an elastic shudder in flight
And serrated wings against the sky,
Like a glove, a black glove thrown up at the light,
And falling back.

Never swallows!
Bats!
The swallows are gone.

At a wavering instant the swallows gave way to bats
By the Ponte Vecchio …
Changing guard.

Bats, and an uneasy creeping in one’s scalp
As the bats swoop overhead!
Flying madly.

Pipistrello!
Black piper on an infinitesimal pipe.
Little lumps that fly in air and have voices indefinite, wildly vindictive;

Wings like bits of umbrella.

Bats!

Creatures that hang themselves up like an old rag, to sleep;
And disgustingly upside down.

Hanging upside down like rows of disgusting old rags
And grinning in their sleep.
Bats!

In China the bat is symbol for happiness.

Not for me!

D.H.Lawrence

Week 705: The Flyting o’ Life and Daith, by Hamish Henderson

A flyting is a contest in verse, especially one where two rival poets exchange scurrilous and often ribald insults. As a genre it is very ancient, occurring in many languages. A well known example in Old Norse, for example, is the Lokasenna, where Loki at Aegir’s feast exchanges taunts with each of the other gods in turn, accusing Freya, for instance, of incest with her brother, while in the Old English poem ‘Beowulf’ we have the hero’s exchange of insults with Unferth.

The tradition is also strong in mediaeval Scots, a classic example being ‘The Flyting of Dunbar and Kennedie’, believed to have been composed around 1500, where two rival poets go at it hammer and tongs. Thus Dunbar addresses Kennedie as ‘Skaldit skaitbird and commoun skamelar,/Wanfukkit funling that Natour maid ane yrle’; Kennedie counters with ‘Revin raggit ruke, and full of rebaldrie,/Skitterand scorpioun, scauld in scurrilitie’, and even without a glossary you can probably guess that all this is not very polite. It’s clever stuff, but pretty crude, and in this week’s offering the 20th century poet Hamish Henderson (1919-2002; see also weeks 212 and 409), a great supporter and interpreter of the folk tradition, adapts the form for more lyrical and reflective purposes as he imagines a dialogue between life and death. Life, you may be pleased to note, gets the last word.

Notes:

lugs                           ears
deef                          deaf
blin                           bleary
maun dwine              must fade
saft                           soft
maet                         food
ilka wean                  each child
crine                         shrivel
keeks                        peeps
dule                          misery
ae galliard hert         one gallant heart
ban                           curse
duddies braw            glad rags
lowp                         leap over
preeson wa’              prison wall
bigg                          build
gar                           make
pest                          plague, disease
syne                         next, thereafter

The Flyting o’ Life and Daith

Quo life, the warld is mine.
The floo’ers and trees, they’re a’ my ain.
I am the day, and the sunshine
Quo life, the warld is mine.

Quo daith, the warld is mine.
Your lugs are deef, your een are blin
Your floo’ers maun dwine in my bitter win’
Quo daith, the warld is mine.

Quo life, the warld is mine.
I hae saft win’s, an’ healin’ rain,
Aipples I hae, an’ breid an’ wine
Quo life, the warld is mine.

Quo daith, the warld is mine.
Whit sterts in dreid, gangs doon in pain
Bairns wantin’ breid are makin’ mane
Quo daith, the warld is mine.

Quo life, the warld is mine.
Your deidly wark, I ken it fine
There’s maet on earth for ilka wean
Quo life, the warld is mine.

Quo daith, the warld is mine.
Your silly sheaves crine in my fire
My worm keeks in your barn and byre
Quo daith, the warld is mine.

Quo life, the warld is mine.
Dule on your een! Ae galliard hert
Can ban tae hell your blackest airt
Quo life, the warld is mine.

Quo daith, the warld is mine.
Your rantin’ hert, in duddies braw,
He winna lowp my preeson wa’
Quo daith, the warld is mine.

Quo life, the warld is mine.
Though ye bigg preesons o’ marble stane
Hert’s luve ye cannae preeson in
Quo life, the world is mine.

Quo daith, the warld is mine.
I hae dug a grave, I hae dug it deep,
For war an’ the pest will gar ye sleep.
Quo daith, the warld is mine.

Quo life, the warld is mine.
An open grave is a furrow syne.
Ye’ll no keep my seed frae fa’in in.
Quo life, the warld is mine.

Hamish Henderson