Week 722: The Sea-widow, by Stevie Smith

When I first read this poem I was confused by the lack of quotation marks and I needed a second take to realise that this is a dialogue between the ghost of a mariner and his widow in which they speak alternate lines, beginning with the ghost. The idea of a such a dialogue between the dead lover and the suriving partner is not new, of course – compare A.E.Housman’s ‘Is my team ploughing?’ (see week 642) – but Stevie Smith gives it her characteristically unique flavour by lulling the reader with singsong cadences before springing the trap in the last line: no, this is rather more than a slightly eccentric piece of whimsy.

The Sea-widow

How fares it with you, Mrs Cooper my bride?
Long are the years since you lay by my side.
Do you wish I was back? Do you speak of me dearest?
I wish you were back for me to hold nearest.
Who then lies nearer, Mrs Cooper my bride?
A black man comes in with the evening tide.
What is his name? Tell me! How does he dare?
He comes uninvited. His name is Despair.

Stevie Smith

Week 721: Erinnerung an die Marie A., by Bertolt Brecht

This is a much celebrated poem by the German poet Bertolt Brecht (see also weeks 243 and 650). A good deal of German ink has been expended on establishing who the Marie A. of the poem was, what exactly was Brecht’s relationship to her and how far this can really be called a love poem. The love appears to have been short-lived and subsequently in private correspondence Brecht was quite cruelly dismissive of the poor girl, so I think myself it is one of those cases where biographical knowledge merely serves to detract from the poem, which is best taken more or less at face value as a poignant reflection on the passing of time and on the fallibility and strange capriciousness of human memory.

The translation that follows is my own.

Erinnerung an die Marie A.

An jenem Tag im blauen Mond September
Still unter einem jungen Pflaumenbaum
Da hielt ich sie, die stille bleiche Liebe
In meinem Arm wie einen holden Traum.
Und über uns im schönen Sommerhimmel
War eine Wolke, die ich lange sah
Sie war sehr weiß und ungeheuer oben
Und als ich aufsah, war sie nimmer da.

Seit jenem Tag sind viele, viele Monde
Geschwommen still hinunter und vorbei.
Die Pflaumenbäume sind wohl abgehauen
Und fragst du mich, was mit der Liebe sei?
So sag ich dir: Ich kann mich nicht erinnern
Und doch, gewiß, ich weiß schon, was du meinst.
Doch ihr Gesicht, das weiß ich wirklich nimmer
Ich weiß nur mehr: Ich küßte es dereinst.

Und auch den Kuß, ich hätt ihn längst vergessen
Wenn nicht die Wolke da gewesen wär
Die weiß ich noch und werd ich immer wissen
Sie war sehr weiß und kam von oben her.
Die Pflaumenbäume blühn vielleicht noch immer
Und jene Frau hat jetzt vielleicht das siebte Kind.
Doch jene Wolke blühte nur Minuten
Und als ich aufsah, schwand sie schon im Wind.

Bertolt Brecht

Remembrance of Marie A

On that day in the blue month of September
Beneath a young plum in a quiet place
I held her there, my silent pale beloved,
In my arms as in some dream of grace.
Above us, in a perfect summer heaven,
There was a cloud, that made me stand and stare,
Very white, and very far above us,
And when I looked, it was no longer there.

Since that day, so many many months
Have come my way and silently are gone.
The plum trees doubtless have been long cut down
And now you ask: and your beloved one?
I say to you that I cannot remember,
Yet to be sure I know well what you mean.
Her face is gone from me beyond recall.
I only know this: that I kissed it then.

Yet the kiss too I would have long forgotten
If not for the cloud that I saw there,
That I still see, that I shall see forever.
It was so white and from the upper air.
Perhaps the plum trees are still blooming; perhaps
The woman has her seventh child to mind,
Yet that cloud blossomed for no more than minutes
And when I looked up, vanished on the wind.

Week 720: Tree At My Window, by Robert Frost/Regards, by Jules Supervielle

One of the joys of exploring poetry in languages not one’s own is to come across unexpected coincidences of thought and expression, as if underlying all disparity of tongues were some universal language of perception and empathy, a hidden wellspring that poets may sometimes tap into. I think it unlikely that in the case of these two tree poems either poet would have been acquainted with the other’s work, but surely both would have recognised a shared spiritual affinity.

The translation that follows the French is my own.

Tree at my Window

Tree at my window, window tree,
My sash is lowered when night comes on;
But let there never be curtain drawn
Between you and me.

Vague dream-head lifted out of the ground,
And thing next most diffuse to cloud,
Not all your light tongues talking aloud
Could be profound.

But tree, I have seen you taken and tossed,
And if you have seen me when I slept,
You have seen me when I was taken and swept
And all but lost.

That day she put our heads together,
Fate had her imagination about her,
Your head so much concerned with outer,
Mine with inner, weather.

Robert Frost

Regards

S’il n’était pas d’arbres à ma fenêtre
Pour venir voir jusqu’au profond de moi,
Depuis longtemps il aurait cessé d’être
Ce coeur offert à ses brûlantes lois.

Dans ce long saule ou ce cyprès profond
Qui me connaît et me plaint d’être au monde,
Mon moi posthume est là qui me regarde
Comprenant mal pourquoi je tarde et tarde.

Jules Supervielle

The Watchers

If it were not for trees outside my window
To come and gaze into the depths of me,
Then given up to its own ardent laws
This heart of mine would long have ceased to be.

In this tall willow, or in this deep cypress
Who grieve for me that still I do not go,
I see my own shade, waiting, looking on,
Not understanding why I tarry so.

Week 719: Acceptance, by David Sutton

Yesterday my wife and I celebrated our diamond wedding anniversary (sixty years of marriage), so I thought I might mark the occasion with one of my own poems. This was in fact written around twenty years ago, but the sentiment seems if anything more applicable now than ever. Back then, of course, I was just at the age when one first begins to hear time’s wingèd chariot revving up behnd one in the distance; now I get the feeling that the damn thing is about to run me over any day soon. But what can I say: we’re both still hanging in there, for which much thanks.

Acceptance

We stop at the garden centre for tea and cake,
Our time our own now, all the children gone,
And you talk to another couple at the next table
While I half-drowse in late October sun,
Answering your smiles on cue, but thinking
This is not me, not yet, or not today:
I am not ready for the small contentments,
Though what I want instead is hard to say.

Our forty years again, of toil and trial?
Indeed, if strength came with them to endure
All that love asks, the given and the taken,
But we have come where only loss is sure,
So I must learn new lines, an awkward actor
Who thought to have no part in age’s play.
Rehearse me, then, in love’s last role, acceptance.
Above all, till the final curtain, stay.

David Sutton