Week 352: From ‘Paradise Lost’, by John Milton

One of the problems for modern readers with Milton’s ‘Paradise Lost’ is that Satan doesn’t actually seem to be that bad a chap. He is not shown as espousing, still less committing, any of the things that seem particularly evil to us: torture, genocide, child abuse – he doesn’t even run through a cornfield. All he seems to do is encourage a spirit of enquiry in mankind by extending ‘Nullius in verba’, the motto of what was at the time of writing the newly-founded Royal Society, to the word of God, which may seem to the modern mind a perfectly reasonable thing to do, especially when the said word is mediated through such an unreliable vehicle as man. Still, ‘Paradise Lost’ has its impressive moments. I like this passage from Book V where at the time of the rebellion in Heaven the angel Abdiel, possibly having written two speeches the night before, one weighing up the pros of rebellion and one the cons, decides to stick with God:

So spake the Seraph Abdiel, faithful found
Among the faithless, faithful only he;
Among innumerable false, unmoved,
Unshaken, unseduced, unterrified,
His loyalty he kept, his love, his zeal;
Nor number, nor example, with him wrought
To swerve from truth, or change his constant mind,
Though single. From amidst them forth he passed,
Long way through hostile scorn, which he sustained
Superior, nor of violence feared aught;
And, with retorted scorn, his back he turned
On those proud towers to swift destruction doomed.

John Milton

Week 351: From ‘Siwan’, by John Saunders Lewis

John Saunders Lewis (1893-1985) was a major figure in 20th Welsh literature. As a man and thinker he was controversial, an imperious intellectual and fiery nationalist whose rather odd blend of Roman Catholicism and Marxism did not appeal to many Welshmen. But that did not stop him being much admired as a poet and particularly as a dramatist, whose plays now form a staple of the Welsh theatre. ‘Siwan’ tells the story of the marriage between Siwan (Joan), an illegitimate daughter of King John, and the much older Llewellyn ap Iorwerth (Llewellyn Fawr, or Llewellyn the Great), the 13th century king of Gwynedd and eventual ruler of all Wales. In this speech Llewellyn reflects on his failure to articulate his love for his young bride, a failure that led to tragedy when Siwan was accused of a dalliance with a young Marcher lord whom Llewellyn then had hanged.

The translation that follows is my own.

Llywelyn: Gwleidyddiaeth oedd ein priodas ni, arglwyddes,
A rhyngom ni ‘roedd bwlch o chwarter canrif.
Wel, dyna’r arfer, mae’n sail i gynghrair
A gytgord gwledydd, cyd-odde, cyd-adeiladu.
Ond pedair blynedd wedyn, pan ddaethost di
Yn wyry i Eryri fel bedwen arian ir,
Fe droes fy nghalon i’n sysyn megis pe gwelswn y Greal;
I mi ‘roedd goleuni lle y troedit.
Ond mygais fy syfrdandod rhag dy ddychryn
A phan deimlais i di yma’n crynu yn fy mreichiau
‘Ddoluriais i monot ti a chusanau trwsgl
Na chwŷs cofleidio erchyll; ymgosbais yn daer
Fel na byddwn ffiaidd gennyt; bûm ara’ a chwrtais a ffurfiol;
A diflannodd dy gryndod; daeth y stafell hon iti’n gartref
A minnau’n rhan, nid rhy anghynnes, o’r dodrefn.
Felly’r addolais i di, fy fflam, o bell ac yn fud,
Gan ymgroesi rhag tresbasu â geiriau anwes;
Ond tynnais di i mewn i fusnes fy mywyd,
Trefnais fy nhŷ a’m tylwyth a’m teyrnas wrth dy gyngor,
A rhoi i’th ymennydd ysblennydd ehangder swydd.
Cofiaf y p’nawn y daethost oddi wrth dy dad
O’th lysgenhadaeth gynta’, ‘roedd fy mywyd I
Mewn perig’ y tro hwnnw. Pymtheg oed oeddit ti
A Dafydd dy fab prin ddeufis. Daethost adre
A’m heinioes i a thywysogaeth Dafydd
Yn ddiogel dan dy wregys. A’r noson honno
Ti a’m coflediodd i. ‘Doedd gen’ i ddim iaith
I ddweud fy llesmair; meistrolais gryndod fy nghorff; –
Ond wedi’r noson honno bûm enbyd i’m gelynion,
Cesglais Geredigion a Phowys a Deheubarth
A’u clymu yng nghoron dy fab, iddo ef yn unig yng Nghymru
Er gwaetha’r ddefod Gymreig, er gwaetha’r rhwyg yn fy nhŷ,
Mynnais gael ei gydnabod gan Frenin Lloegr a’r Pab
A chael gan y Pab gyhoeddi brenhiniaeth ddi-lychwin ei ach:
Hyn oll a bensaerniais, fy nheml ydoedd i ti,
F’addoliad i ti –

Siwan: Llywelyn, ‘wyddwn i ddim, ‘wyddwn i ddim.

Llywelyn: Pa les fyddai iti wybod? ‘Roedd mynydde’r blynydde rhyngom,
Mi ddeallais i hynny hefyd.
Gwleidydd wyf fi, ‘cheisiais i mo’r amhosib,
‘Roedd dy gywirdeb di’n ddigon.

Translation:

Llywelyn: Lady, our marriage was political.
A quarter century, the gap between us.
Well then, so it goes: on such we base
The counsels and the concords of a country,
Together bear and build. But four years on
When you came to Snowdonia, a virgin,
Like a young silver birch tree in the spring,
My heart turned in me suddenly, as if
I had beheld the Holy Grail: to me
There was a light about you where you walked.
And yet I smothered my bedazzlement
Lest it should frighten you, and when I felt you
All of a tremble, held within my arms,
I did not trouble you with clumsy kisses
Nor sweaty fearful coupling; I held back
Lest you should think me loathsome; I was slow,
Formal, courteous. And so your trembling
Disappeared: this room became your home
And I a part of it, not too unwelcome.
I worshipped you, my flame, afar and mute.
I did not trespass on you with fond words
But shared with you the business of my life,
By your counsel ordering my household,
My family, my realm; I gave your mind
In all its splendour space to operate.
Still I recall the day that you returned
From your first embassy, back from your father.
My life then was in peril. Fifteen years
You were, and your son Dafydd just two months,
And you came home, my life and Dafydd’s kingdom
Safe beneath your girdle. And that night
You lay with me. I did not have the words
To tell my joy; I stilled my body’s trembling,
But from that night I was a holy terror
To all my enemies; I took Deheubarth,
Powys, Ceredigion; I set them
Like jewels in your son’s crown, to be his
Alone in Wales, in despite of Welsh custom
And despite of my own divided house.
Through me the King of England and the Pope
Acknowledged him; I had the Pope proclaim
His spotless lineage; all this I shaped
For you alone; it was my temple to you,
My way of worshipping –

Siwan: Llywelyn, I did not know, I did not know.

Llywelyn: What good would it have done for you to know?
Between us, like a mountain, lay the years.
I understood that too; a politician
I did not ask for the impossible.
Your loyalty was enough.

Week 350: Talking in Bed, by Philip Larkin

Ted Hughes said he liked all of Philip Larkin’s poems (which was generous of him, considering the rubbishing he himself got from Larkin) and he liked him the more the sadder he got.  I guess he may have particularly liked this one then, which has the core of desolation that one finds at the heart of so many Larkin poems, and expresses a sense of alienation and aloneness that strikes me as typically if by no means exclusively mid-twentieth century.

Talking in Bed

Talking in bed ought to be easiest,
Lying together there goes back so far,
An emblem of two people being honest.

Yet more and more time passes silently.
Outside, the wind’s incomplete unrest
Builds and disperses clouds about the sky,

And dark towns heap up on the horizon.
None of this cares for us. Nothing shows why
At this unique distance from isolation

It becomes still more difficult to find
Words at once true and kind,
Or not untrue and not unkind.

Philip Larkin

Week 349: The Black Furrow, by George Mackay Brown

It’s no easy thing to capture an authentic flavour of the old ballads, but I think George Mackay Brown manages it in this tale of a fiddler lured away, like Thomas the Rhymer, to elfland. I have an idea that I first heard the poem broadcast as part of a radio play, ‘A Spell for Green Corn’, many years ago.

The Black Furrow

“Darst thu gang b’ the black furrow
This night, thee and they song?”
“Wet me mouth wi’ the Lenten ale,
I’ll go along.”

They spied him near the black furrow
B’ the glim o’ the wolf star.
Slow the dance was in his feet
Dark the fiddle he bore.

There stood three men at the black furrow
And one was clad in grey.
No mortal hand had woven that cloth
B’ the sweet light o’ day.

There stood three men at the black furrow
And one was clad in green.
They’ve ta’en the fiddler b’ the hand
Where he was no more seen.

There stood three men at the black furrow
And one was clad in yellow.
They’ve led the fiddle through the door
Where never a bird could follow.

They’ve put the gowd cup in his hand,
Elfin bread on his tongue.
And there he bade a hunder years,
Him and his lawless song.

“Darst thu gang through the black furrow
On a mirk night, alone?”
“I’d rather sleep wit’ Christian folk,
Under a kirkyard stone.”

George Mackay Brown

Week 348: Dirge for St Patrick’s Night, by Elsa Corbluth

On 17 March 1980 (St Patrick’s Night) Eilidh Corbluth started work as a volunteer at the Mother Teresa hostel for women in Kilburn, London. That first night she was helping to organise a party for the residents when a fire was started in the hostel by an alcoholic, in which Eilidh and nine homeless women all died. This raw, powerful lament is the title poem in a sequence that Elsa Corbluth (born 1929) wrote in memory of her only daughter.

Dirge for St. Patrick’s Night

Rain on the red roses:
I had a daughter. I have none.
Grey fog on green hills rises:
I had two children. I have one.

Mist on the scented blossom:
she left, one afternoon,
face a flower, body lissom:
The same night burned to bone.

Needing to tend the needy,
so to find, and touch, Christ,
she reached his house unready
for this mocking of her trust.

Flowers of flame flourished redly
in her window while she slept:
love of dead Christ proved deadly,
her youth and my joy trapped.

Jesus said, suffer children,
not black-stick skeletons.
God’s Joan or devil’s cauldron?
Ash, all the holy ones.

At her grave’s head, pale roses
picked with their claws of blood:
eighteen summers’ slain praises:
under wet grass lies her God.

I use words: no-one listens.
I use tears with no ending.
My one girl the rain christens,
gutted house beyond mending.

Elsa Corbluth

Week 347: Donal Og, by Anon, translated by Lady Gregory

This is part translation, part adaptation by Lady Augusta Gregory of an anonymous Irish ballad. You will find the date of the original quoted in various places online as 8th century, but I am sceptical: that’s very early, earlier even than poems like ‘Pangur Ban’ and ‘Lament of the Old Woman of Beare’, and it just doesn’t have the feel of Old Irish to me, so I suspect that a typo somewhere, possibly for 18th century, has become perpetuated. Any Celtic scholars among us who can cast light on the matter? But whatever the date of the original, I think it’s a remarkable piece of translation/recreation. 

Donal Og

It is late last night the dog was speaking of you;
the snipe was speaking of you in her deep marsh.
It is you are the lonely bird through the woods;
and that you may be without a mate until you find me.

You promised me, and you said a lie to me,
that you would be before me where the sheep are flocked;
I gave a whistle and three hundred cries to you,
and I found nothing there but a bleating lamb.

You promised me a thing that was hard for you,
a ship of gold under a silver mast;
twelve towns with a market in all of them,
and a fine white court by the side of the sea.

You promised me a thing that is not possible,
that you would give me gloves of the skin of a fish;
that you would give me shoes of the skin of a bird;
and a suit of the dearest silk in Ireland.

When I go by myself to the Well of Loneliness,
I sit down and I go through my trouble;
when I see the world and do not see my boy,
he that has an amber shade in his hair.

It was on that Sunday I gave my love to you;
the Sunday that is last before Easter Sunday.
And myself on my knees reading the Passion;
and my two eyes giving love to you for ever.

My mother said to me not to be talking with you today,
or tomorrow, or on the Sunday;
it was a bad time she took for telling me that;
it was shutting the door after the house was robbed.

My heart is as black as the blackness of the sloe,
or as the black coal that is on the smith’s forge;
or as the sole of a shoe left in white halls;
it was you that put that darkness over my life.

You have taken the east from me; you have taken the west from me;
you have taken what is before me and what is behind me;
you have taken the moon, you have taken the sun from me;
and my fear is great that you have taken God from me!

Anon, translated by Lady Gregory

Week 346: A Thunderstorm in Town, by Thomas Hardy

I must confess that until I came to investigate it for this posting, I had always misread this poem, assuming it to be Hardy in age recalling some encounter from his youth, before he met his first wife Emma Gifford. I saw him as reflecting on an opportunity lost, a road not taken, and wondering how differently his life and marriage might have turned out had the rain not stopped, or had he been more forward. But actually it seems that it is about a shared cab-ride in later life with his second wife-to-be Florence Dugdale, while he was still married to Emma, so my assumption of a gauche youthful innocence and a never-to-be-fulfilled desire is way off the mark. It’s still a poignant, bittersweet little poem in its way, but I rather wish I’d stayed ignorant…

A Thunderstorm in Town
(A Reminiscence)

She wore a new ‘terra-cotta’ dress,
And we stayed, because of the pelting storm,
Within the hansom’s dry recess,
Though the horse had stopped; yea, motionless
We sat on, snug and warm.

Then the downpour ceased, to my sharp sad pain,
And the glass that had screened our forms before
Flew up, and out she sprang to her door:
I should have kissed her if the rain
Had lasted a minute more.

Thomas Hardy

Week 345: ‘More Light! More Light!’ by Anthony Hecht

Nothing for your cheer today, in fact this is just about the bleakest poem I know, but in a week that has seen the 75th anniversary of the D-Day landings it may be appropriate to be reminded of what we should never forget, of the issues lying at the heart of that conflict that made the sacrifice of so many so necessary.

‘More Light! More Light!’

For Heinrich Blücher and Hannah Arendt

Composed in the Tower before his execution
These moving verses, and being brought at that time
Painfully to the stake, submitted, declaring thus:
‘I implore my God to witness that I have made no crime.’

Nor was he forsaken of courage, but the death was horrible,
The sack of gunpowder failing to ignite.
His legs were blistered sticks on which the black sap
Bubbled and burst as he howled for the Kindly Light.

And that was but one, and by no means one of the worst;
Permitted at least his pitiful dignity;
And such as were by made prayers in the name of Christ,
That shall judge all men, for his soul’s tranquillity.

We move now to outside a German wood.
Three men are there commanded to dig a hole
In which the two Jews are ordered to lie down
And be buried alive by the third, who is a Pole.

No light from the shrine at Weimar beyond the hill
Nor light from heaven appeared. But he did refuse.
A Lüger settled back deeply in its glove.
He was ordered to change places with the Jews.

Much casual death had drained away their souls.
The thick dirt mounted toward the quivering chin.
When only the head was exposed the order came
To dig him out again and get back in.

No light, no light in the blue Polish eye.
When he finished a riding boot packed down the earth.
The Lüger hovered lightly in its glove.
He was shot in the belly and in three hours bled to death.

No prayers or incense rose up in those hours
Which grew to be years, and every day came mute
Ghosts from the ovens, sifting through crisp air,
And settled upon his eyes in a black soot.

Anthony Hecht

Week 344: From far, from eve and morning, by A.E.Housman

Another of my favourite A.E.Housman poems, from ‘A Shropshire Lad’. When I first read it I thought the ‘twelve-winded sky’ sounded mysteriously poetic but also a little puzzling: I supposed that one could divide the compass up how one wanted, but convention seemed to require four or eight winds. But that’s just the modern convention: the Greeks and Romans did indeed see the compass in terms of twelve points, each wind being given its own name: Boreas, Zephyrus etc.. It seems very appropriate for Housman the classical scholar to hark back to that, but he also manages in this poem to neatly prefigure a modern scientific idea about the stuff of life: that the atoms that make up our bodies were forged in the heart of stars and then borne hither on some cosmic wind to be assembled before dispersing again. 

From far, from eve and morning

From far, from eve and morning
    And yon twelve-winded sky,
The stuff of life to knit me
    Blew hither: here am I.

Now – for a breath I tarry
    Nor yet disperse apart–
Take my hand quick and tell me,
    What have you in your heart.

Speak now, and I will answer;
    How shall I help you, say;
Ere to the wind’s twelve quarters
    I take my endless way.

A.E.Housman

Week 343: Gold Leaves, by G.K.Chesterton

I turned 75 last Sunday, and have been casting around for something to put a positive spin on this – OK, I now get a free TV licence but otherwise compensations seem thin on the ground. But I do take some heart from this poem of old age by G.K.Chesterton, that combines serenity with a typically Chestertonian sense of how extraordinary and precious the ordinary is.

Gold Leaves

Lo! I am come to autumn
When all the leaves are gold;
Grey hairs and golden leaves cry out
The year and I am old.

In youth I sought the prince of men,
Captain in cosmic wars,
Our Titan, even the weeds would show
Defiant, to the stars.

But now a great thing in the street
Seems any human nod,
Where shift in strange democracy
The million masks of God.

In youth I sought the golden flower
Hidden in wood or wold,
But I am come to autumn
When all the leaves are gold.

G.K.Chesterton