Week 311: Anglais Mort à Florence, by Wallace Stevens

Every so often I have another go at reading Wallace Stevens, whose work I continue to find intriguing and frustrating in equal measure. Intriguing because the verse has such hypnotic cadences; frustrating because it seems to exist in some parallel universe where sometimes the words have meanings or associations that don’t seem to have made their way into mine. As a case in point, the last three stanzas here seem to me very fine, with the repetition of ‘But he remembered the time when he stood alone’ tolling like a bell, but what on earth are the police doing suddenly crashing in on the scene out of nowhere? Does this refer to some incident in a novel (possibly, from the poem’s title, a French novel) that I haven’t read? As usual, any enlightenment will be gratefully received.

Anglais Mort à Florence

A little less returned for him each spring.
Music began to fail him. Brahms, although
His dark familiar, often walked apart.

His spirit grew uncertain of delight,
Certain of its uncertainty, in which
That dark companion left him unconsoled

For a self returning mostly memory.
Only last year he said that the naked moon
Was not the moon he used to see, to feel

(In the pale coherences of moon and mood
When he was young), naked and alien,
More leanly shining from a lankier sky.

Its ruddy pallor had grown cadaverous.
He used his reason, exercised his will,
Turning in time to Brahms as alternate

In speech. He was that music and himself.
They were particles of order, a single majesty:
But he remembered the time when he stood alone.

He stood at last by God’s help and the police;
But he remembered the time when he stood alone.
He yielded himself to that single majesty;

But he remembered the time when he stood alone,
When to be and delight to be seemed to be one,
Before the colors deepened and grew small.

Wallace Stevens

Week 310: From ‘King Lear’, by William Shakespeare

It seems that yesterday was National Poetry Day. Some years ago I did try to get involved in this, having been told that our local library was going to be mounting a display. Moved by a certain sense of duty to my poor publisher, I went along and enquired rather diffidently if they’d like to feature some of my own work, you know, local poet and all that. The kindly librarian explained to me that really her wall-space was reserved for more established names: Pam Ayres, Maya Angelou, Roger McGough, Shakespeare…. I was not surprised, of course, but I did feel the need to remind myself of exactly what this Shakespeare fellow had done to merit a place in such distinguished company. Back home I picked up my ‘Lear’ and it opened at this passage, where the old king has just been reconciled with his daughter and the poetry gathers in a pool of serenity before its last plunge over the brink of tragedy. And I thought to myself oh well, fair enough.

From ‘King Lear’, Act V, Scene 3

Lear: ‘No, no, no, no! Come, let’s away to prison:
We two alone will sing like birds i’ the cage:
When thou dost ask me blessing, I’ll kneel down,
And ask of thee forgiveness: so we’ll live,
And pray, and sing, and tell old tales, and laugh
At gilded butterflies, and hear poor rogues
Talk of court news; and we’ll talk with them too,
Who loses and who wins; who’s in, who’s out;
And take upon’s the mystery of things,
As if we were God’s spies: and we’ll wear out,
In a wall’d prison, packs and sects of great ones,
That ebb and flow by the moon’.

William Shakespeare

Week 309: Fife Tune, by John Manifold

What appeals to me about this piece by the Australian poet John Manifold (1915-1985) is partly the enchanting lilt of its movement and partly its quality of wistful innocence – meaning no disrespect to our armed forces, but that’s perhaps not the first thing one would look for in a poem about a bunch of squaddies marching past a pretty young girl.

Fife Tune

(6/8) for Sixth Platoon, 308th ITC

One morning in spring
We marched from Devizes
All shapes and all sizes
Like beads on a string,
But yet with a swing
We trod the bluemetal
And full of high fettle
We started to sing.

She ran down the stair
A twelve-year-old darling
And laughing and calling
She tossed her bright hair;
Then silent to stare
At the men flowing past her
There were all she could master
Adoring her there.

It’s seldom I’ll see
A sweeter or prettier;
I doubt we’ll forget her
In two years or three.
And lucky he’ll be
She takes for a lover
While we are far over
The treacherous sea.

John Manifold

Week 308: Forgotten, by Dannie Abse

Another one from Welsh poet and doctor Dannie Abse (1923-2014), written, I assume from the Vietnam reference, in the late sixties or early seventies. The theme is a common enough one in literature – that haunting sense of the other place, once known or dreamed of, that one can never quite get back to or come to: Alain-Fourner’s lost domain, H.G.Wells and his door in the wall, Edwin Muir’s childhood Eden, the unscheduled railway halt of Robert Graves’s poem ‘The Next Time’.

Forgotten

That old country I once said I’d visit
when older. Can no one tell me its name?
Odd, to have forgotten what it is called.
I would recognise the name if I heard it.
So many times I have searched the atlas
With a prowling convex lens – to no avail.

I know the geography of the great world
has changed; the war, the peace, the deletions
of places – red pieces gone forever
,and names of countries altered forever:
Gold Coast Ghana, Persia become Iran,
Siam Thailand, and hell now Vietnam.

People deleted. Must I sleep again to reach it,
to find the back door opening to a field,
A barking of dogs, and a path that leads back?
One night in pain, the dead middle of night,
will I awake again, know who I am,
the man from somewhere else, and the place’s name?

Dannie Abse

Week 307: Song, by Seamus Heaney

No doubt we all have our favourite Seamus Heaney collections (and while ‘Collected Poems’ are very satisfying and serviceable, is there not an excitement that a ‘Collected’ can never quite replace about reading a poet’s collections as they come out?). For me, it has to be ‘Field Work’, which I think shows the poet in his prime, in full relish of his mastery. This week’s choice is a relatively simple lyric from that collection, compared with some of the complex and demanding (but very satisfying) poems that it contains. I have to say that I’m not too sure about the image in the first line. It seems to me that a girl would need to be wearing an awful lot of lipstick in a lot of unusual places to look anything like the berry-laden rowan trees I’ve seen. But I do like the second stanza. Appropriately for an Irish poem, the last line echoes the answer given by the legendary hero Fionn mac Cumhaill, who when asked what he thought was the best music of all said ‘The music of what happens’.

Song

A rowan like a lipsticked girl.
Between the by-road and the main road
Alder trees at a wet and dripping distance
Stand off among the rushes.

There are the mud-flowers of dialect
And the immortelles of perfect pitch
And that moment when the bird sings very close
To the music of what happens.

Seamus Heaney

Week 306: A Lullaby, by Randall Jarrell

Another of Randall Jarrell’s war poems, an unillusioned view of military life superbly clinched by its final couplet.

A Lullaby

For wars his life and half a world away
The soldier sells his family and days.
He learns to fight for freedom and the State;
He sleeps with seven men within six feet.

He picks up matches and he cleans out plates,
Is lied to like a child, cursed like a beast.
They crop his head, his dog tags ring like sheep
As his stiff limbs shift wearily to sleep.

Recalled in dreams or letters, else forgot,
His life is smothered like a grave, with dirt;
And his dull torment mottles like a fly’s
The lying amber of the histories.

Randall Jarrell

Week 305: Cradle Song for Eleanor, by Louis MacNeice

This poem actually forms part of a collection published in 1941, but for me it evokes, in the way that MacNeice does better than anyone, even Auden, the claustrophobic, angst-laden feel of the nineteen-thirties, that uneasy sense of impending doom, like a shadow waiting at the end of the corridor. Which does not stop it also being a beautiful love lyric.

Cradle Song for Eleanor

Sleep, my darling, sleep;
The pity of it all
Is all we compass if
We watch disaster fall.
Put off your twenty-odd
Encumbered years and creep
Into the only heaven
The robbers’ cave of sleep.

The wild grass will whisper,
Lights of passing cars
Will streak across your dreams
And fumble at the stars;
Life will tap on the window
Only too soon again,
Life will have her answer –
Do not ask her when.

When the winsome bubble
Shivers, when the bough
Breaks, will be the moment
But not here or now.
Sleep and, asleep, forget
The watchers on the wall
Awake all night who know
The pity of it all.

Louis MacNeice

Week 304: Dolor, by Theodore Roethke

A poem that may strike a chord with anyone who has spent their working life in an office, though inevitably it could with a bit of updating to reflect the more modern joys of open plan, computer crashes, hot desking and so on. 

Dolor

I have known the inexorable sadness of pencils,
Neat in their boxes, dolor of pad and paper-weight,
All the misery of manila folders and mucilage,
Desolation in immaculate public places,
Lonely reception room, lavatory, switchboard,
The unalterable pathos of basin and pitcher,
Ritual of multigraph, paper-clip, comma,
Endless duplication of lives and objects.
And I have seen dust from the walls of institutions,
Finer than flour, alive, more dangerous than silica,
Sift, almost invisible, through long afternoons of tedium,
Dropping a fine film on nails and delicate eyebrows,
Glazing the pale hair, the duplicate grey standard faces.

Theodore Roethke

Week 303: Woman’s Song, by Judith Wright

A lyrical celebration of late pregnancy and the unique closeness it embodies. I imagine there must be other ways for women to feel about the imminent prospect of giving birth, like if you’ve been carrying an extra couple of stone around for months it must be quite a relief to get rid of it, but what do I know…

Woman’s Song

O move in me, my darling,
for now the sun must rise:
the sun that will draw open
the lids upon your eyes.

O wake in me, my darling,
the knife of day is bright
to cut the thread that binds you
within the flesh of night.

Today I love and find you
whom yet my blood would keep –
would weave and sing around you
the spells and songs of sleep.

None but I shall know you
as none but I have known;
yet there’s a death and a maiden
who wait for you alone;

So move in me, my darling,
whose debt I cannot pay.
Pain and the dark must claim you
and passion and the day.

Judith Wright

 

Week 302: The Great Silkie of Sule Skerry

Last Friday I happened to catch the end of one of this year’s Proms concerts which was showcasing British folksong, and the closing piece was a mass singing of the beautiful ballad ‘The Great Silkie of Sule Skerry’. I confess that I wasn’t much taken with this rendering – not as bad as those wince-making drawing-room arrangements of folksong beloved of early twentieth century British composers, but still far too orchestrated and ornamented for my taste. Give me an a cappella version, or at best a very modest instrumental accompaniment: the words of great folksongs are words of power and magic, and they should be allowed to speak for themselves.

A ‘silkie’ (or selkie) was one of the seafolk, enchanted creatures who lived in the sea as seals but could come ashore, take on human form and even take a human husband or wife.

As usual with ballads, there are several versions of the text: what I give here is a shorter version from the Shetlands (Child ballad 113), made popular in the sixties by Joan Baez; there is a much longer Orcadian version favoured by the great Scots ballad singers Jean Redpath and Archie Fisher, and sung to a tune that may be more authentic, but I rather like the more compact Shetland version and like its tune too.

The Great Silkie of Sule Skerry

An earthly nourris sits and sings,
And aye, she sings ‘Ba lily wean,
Little ken I my bairn’s father,
Far less the land that he staps in’.

Then ane arose at her bed fit.
And a grumly guest I’m sure was he,
Saying ‘Here am I, thy bairn’s father,
Although I be not comely.’

‘I am a man upon the land,
I am a silkie on the sea,
And when I’m far and far frae land,
My dwelling is in Sule Skerrie.’

And he has ta’en a purse of gold
And he has placed it upon her knee,
Saying, ‘Give to me my little young son,
And take thee up thy nurse’s fee.

‘It shall come to pass on a summer’s day,
When the sun shines het on every stane,
That I shall fetch my little young son,
And teach him for to swim the faem.

‘And thu shall marry a proud gunner,
And a proud gunner I’m sure he’ll be,
And the very first shot that e’er he shoots
He’ll shoot both my young son and me.’

Anon