Week 577: Crossing alone the nighted ferry, by A.E.Housman

Time for another of my favourite Housman poems, a heartfelt cry of unrequited and exploited love. I am particularly fond of the second stanza, which I was wont to quote to the women in my office when it was my turn to get the coffees again.

Lethe, of course, is one of the five rivers of the Greek underworld, the one whose waters induced forgetfulness. The others were Styx, Acheron, Cocytus and Phlegethon. The ‘one coin’ refers to the obol that was placed in the mouth of the deceased as a payment to Charon, who ferried the dead across the River Styx. Pronunciation note: it looks from the scansion as if Housman pronounced ‘coin’ as having one syllable. To me it has two, so I find I want to drop the ‘for’ after it. Still, it’s not my business to improve Housman…

Crossing alone the nighted ferry

Crossing alone the nighted ferry
With the one coin for fee,
Whom, on the wharf of Lethe waiting,
Count you to find? Not me.

The brisk fond lackey to fetch and carry,
The true sick-hearted slave
Expect him not in the just city
And free land of the grave.

A.E.Housman

Week 576: To A Conscript Of 1940, by Herbert Read

One for Remembrance Day. Sir Herbert Edward Read (1893-1968) was best known as an art historian, but was also a poet and literary critic. He had served in the First World War, attaining the rank of captain, and won both the MC (Military Cross) and DSO (Distinghuished Service Order) for ‘conspicuous gallantry and devotion to duty’. This piece captures the mood of the poets at the outbreak of the Second World War, which was very different from the jingoistic enthusiasm that greeted the First, being more an acceptance of necessity, of the fact that sometimes good people must do bad things to stop bad people doing worse, all tempered by a weary disillusionment, memorably summed up in C. Day Lewis’s terse quatrain: ‘It is the logic of our times/No subject for immortal verse/That we who live by honest dreams/Defend the bad against the worse’. Of course, at the outset of the war the world had yet to realise just how much worse the worse could be.

To a Conscript of 1940

A soldier passed me in the freshly fallen snow,
His footsteps muffled, his face unearthly grey:
And my heart gave a sudden leap
As I gazed on a ghost of five-and-twenty years ago.

I shouted Halt! and my voice had the old accustom’d ring
And he obeyed it as it was obeyed
In the shrouded days when I too was one
Of an army of young men marching

Into the unknown. He turned towards me and I said:
‘I am one of those who went before you
Five-and-twenty years ago: one of the many who never returned,
Of the many who returned and yet were dead.

We went where you are going, into the rain and the mud:
We fought as you will fight
With death and darkness and despair;
We gave what you will give – our brains and our blood.

We think we gave in vain. The world was not renewed.
There was hope in the homestead and anger in the streets,
But the old world was restored and we returned
To the dreary field and workshop, and the immemorial feud

Of rich and poor. Our victory was our defeat.
Power was retained where power had been misused
And youth was left to sweep away
The ashes that the fires had strewn beneath our feet.

But one thing we learned: there is no glory in the deed
Until the soldier wears a badge of tarnish’d braid;
There are heroes who have heard the rally and have seen
The glitter of garland round their head.

Theirs is the hollow victory. They are deceived.
But you my brother and my ghost, if you can go
Knowing that there is no reward, no certain use
In all your sacrifice, then honour is reprieved.

To fight without hope is to fight with grace,
The self reconstructed, the false heart repaired.’
Then I turned with a smile, and he answered my salute
As he stood against the fretted hedge, which was like white lace.

Herbert Read

Week 575: Hallowe’en, by Violet Jacob

One for Hallowe’en: a moving poem by Violet Jacob (1863–1946; see also week 16) inspired by the loss of her only son Harry, who died of wounds sustained at the Battle of the Somme in 1916.

Although about her son, I have seen it plausibly suggested that the words are to be imagined as spoken not by his mother but by a ploughman, lamenting the loss of his ‘bothy companion’, his ‘head horseman’, and taking no pleasure in the Hallowe’en festivities – the lights, the apple-bobbing, the costumes, the children going from house to house – that once they enjoyed together, as he sees only a new head horseman’s clothes chest next to the fire.

The poem has been set to music by Jim Reid and can be heard on YouTube covered by various artists, notably Karine Polwart/Sheena Wellington and Jean Ridpath.

The poem is written in the local vernacular of the Mearns of Fife; I have added a gloss of the less obvious words.

Hallowe’en

The tattie-liftin’s nearly through,                                  tattie: potato   
They’re ploughin’ whaur the barley grew,
  And aifter dark, roond ilka stack,                               ilka: every
  Ye’ll see the horsemen stand an’ crack                     crack: talk, gossip
O Lachlan, but I mind o’ you!

I mind foo often we hae seen                                      foo: full
Ten thoosand stars keek doon atween                        keek: peep
  The nakit branches, an’ below
  Baith fairm an’ bothie hae their show,
Alowe wi’ lichts o’ Hallowe’en.                                     alowe: alight

There’s bairns wi’ guizards at their tail                        guizards: people in costumes
Cloorin’ the doors wi’ runts o’ kail,                              runts o’ kail: cabbage-stalks
  And fine ye’ll hear the screichs an’ skirls
  O’ lassies wi’ their droukit curls                                 droukit: drenched
Bobbin’ for aipples i’ the pail.

The bothie fire is loupin’ het,                                       loupin’ het: leaping hot
A new heid horseman’s kist is set                               heid: head; kist: chest
  Richt’s o’ the lum; whaur by the blaze                      richt: right; lum: chimney
  The auld ane stude that kept yer claes—                 stude: stood
I canna thole to see it yet!                                          thole: bear, endure

But gin the auld fowks’ tales are richt
An ghaists come hame on Hallow nicht,                     ghaists: ghosts
  O freend o’ friends! what wad I gie
  To feel ye rax yer hand to me                                    rax: reach out
Atween the dark an’ caun’le licht?

Awa’ in France, across the wave,
The wee lichts burn on ilka grave,                              ilka: every
  An’ you an’ me their lowe hae seen—                       lowe: glow, gleam
  Ye’ll mebbe hae yer Hallowe’en
Yont, whaur ye’re lyin’ wi’ the lave.                             yont: yonder; lave: the others

There’s drink an’ daffin’, sang an’ dance                     daffing: playing the fool, frolicking
And ploys and kisses get their chance,                      ploys: courtship stratagems
  But Lachlan, man, the place I see
  Is whaur the auld kist used tae be
And the lichts o’ Hallowe’en in France!

Violet Jacob

Week 574: My Old, by Alison Brackenbury

Another poem by Alison Brackenbury (see also weeks 20 and 225), one of the contemporary poets whose work I find most congenial for its humanity and formal skill.

The Queen referred to in the second stanza is of course Queen Victoria, not the late Queen. As I have observed before, it is easy to forget just how far back the direct oral transmission of memories can take one – my own grandparents were born in the 1870s.

My Old

My old are gone; or quietly remain
thinking me a cousin from West Ham,
or kiss me, shyly, in my mother’s name.
(My parents seem to dwindle too; forget
Neat ending to a sentence they began,
Beginning of a journey; if not yet.)

Cards from village shops they sent to me
With postal orders they could not afford.
They pushed in roots of flowers, carelessly,
And yet they grew; they said a message came
To say the Queen was dead, that bells were heard.
My old are gone into the wastes of dream.

The snow froze hard, tramped down. Old footprints pit
Its smoothness, blackened footprints that I tread
That save me falling, though they do not fit
Exactly, stretching out beyond my sight.
My old are gone from name. They flare instead
Candles: that I do not have to light.

Alison Brackenbury

Week 573: The Confirmation, by Edwin Muir

This week’s offering by the Orkney poet Edwin Muir, which I assume to be addressed to his wife Willa, herself a fine writer, seems to me an unusually moving and effective poem of married love, celebrating not the first flush of romance but something deeper and more durable: a spiritual companionship, and the uniqueness and preciousness of another human being.

The Confirmation

Yes, yours, my love, is the right human face.
I in my mind had waited for this long,
Seeing the false and searching for the true,
Then found you as a traveller finds a place
Of welcome suddenly amid the wrong
Valleys and rocks and twisting roads. But you,
What shall I call you? A fountain in a waste,
A well of water in a country dry,
Or anything that’s honest and good, an eye
That makes the whole world bright. Your open heart,
Simple with giving, gives the primal deed,
The first good world, the blossom, the blowing seed,
The hearth, the steadfast land, the wandering sea,
Not beautiful or rare in every part,
But like yourself, as they were meant to be.

Edwin Muir

Week 572: The Fury of Aerial Bombardment, by Richard Eberhart

I think this piece by the American poet Richard Eberhart (1904-2005) is an example of how a fairly indifferent poem can suddenly come alive and be saved by one good stanza. The first three verses really don’t work for me: the philosophising seems trite and ineffectual, the rhymes laboured. But then we have the last four lines, drawing directly on Eberhart’s experience as a gunnery instructor for the United States Navy in 1942: the tone quite different, practical, compassionate, a distillation of pity for young men barely out of school plunged into the maelstrom of war. And still it goes on, as the young grandson of a friend of mine waits even now for his orders at the edge of the Gaza strip…

The Fury of Aerial Bombardment

You would think that the fury of aerial bombardment
Would rouse God to relent; the infinite spaces
Are still silent. He looks on shock-pried faces.
History, even, does not know what is meant.

You would feel that after so many centuries
God would give man to repent; yet he can kill
As Cain could, but with multitudinous skill,
No farther advanced than in his ancient furies.

Was man made stupid to see his own stupidity?
Is God by definition indifferent, beyond us all.?
Is the eternal truth man’s fighting soul
Wherein the Beast ravens in its own avidity?

Of Van Wettering I speak, and Averill,
Names on a list, whose faces I do not recall
But they are gone to early death, who late in school
Distinguished the belt feed lever from the belt holding pawl.

Richard Eberhart

Week 571: The Hill, by Edgar Lee Masters

This poem by the American poet Edgar Lee Masters (1868-1950) is a good modern example of the ‘Ubi sunt’ or ‘Where are they now’ genre, of which prime examples might be François Villon’s ‘Ballade des dames du temps jadis’, or the famous passage from the Old English poem ‘The Wanderer’ that begins ‘Hwaer cwom mearg? Hwaer cwom mago?’ and that J.R.R.Tolkien so skilfully imitates in the ‘King of the Golden Hall’ chapter in ‘The Two Towers’: ‘Where now the horse and the rider? Where is the horn that was blowing?’. (Incidentally the Old English word ‘mearg’ or ‘mearh’, horse, is what gave Tolkien his word ‘meara’ for the line of horses to which Shadowfax belonged).

Here the lament is for a vanished America: the collection in which the poem first appeared, ‘The Spoon River Anthology’, was published in 1915, at a time when the memory of the Civil War and the Old West would still have been a living one in the minds of the old – it is easy to forget that Buffalo Bill, for example, did not die until 1915 and Wyatt Earp made it to 1929.

‘the hill’ a hillside on the edge of town was a favourite site for a cemetery; cf. the popular appellation Boot Hill where the ‘Boot’ implies that the occupants died a violent death, with their boots on, rather than from natural causes.

‘Clary’s Grove’ a pioneer settlement near New Salem, Illinois, associated in the 1830s with a gang of roysterers known as the Clary Grove Boys, with whose leader Jack Armstrong a young Abraham Lincoln, who was working at the time in a New Salem store, had a famous wrestling match.

‘Of what Abe Lincoln said/One time at Springfield’. I think this must refer to a famous speech, known as the Lyceum Address, that Abraham Lincoln made at Springfield, Illinois on January 27, 1838, in which he extols the virtues of the American constitution and prophetically enough states that threats to it are likely to come not from external enemies but from its own leaders showing a disregard for the rule of law.

The Hill

Where are Elmer, Herman, Bert, Tom and Charley,
The weak of will, the strong of arm, the clown, the boozer, the fighter?
All, all, are sleeping on the hill.

One passed in a fever,
One was burned in a mine,
One was killed in a brawl,
One died in jail,
One fell from a bridge toiling for children and wife –
All, all are sleeping, sleeping, sleeping on the hill.

Where are Ella, Kate, Mag, Lizzie and Edith,
The tender heart, the simple soul, the loud, the proud, the happy one?-
All, all, are sleeping on the hill.

One died in shameful child-birth,
One of a thwarted love,
One at the hands of a brute in a brothel,
One of a broken pride, in the search for heart’s desire,
One after life in far-away London and Paris
Was brought to her little space by Ella and Kate and Mag –
All, all are sleeping, sleeping, sleeping on the hill.

Where are Uncle Isaac and Aunt Emily,
And old Towny Kincaid and Sevigne Houghton,
And Major Walker who had talked
With venerable men of the revolution?-
All, all, are sleeping on the hill.

They brought them dead sons from the war,
And daughters whom life had crushed,
And their children fatherless, crying –
All, all are sleeping, sleeping, sleeping on the hill.

Where is old Fiddler Jones
Who played with life all his ninety years,
Braving the sleet with bared breast,
Drinking, rioting, thinking neither of wife nor kin,
Nor gold, nor love, nor heaven?
Lo! he babbles of the fish-frys of long ago,
Of the horse-races of long ago at Clary’s Grove,
Of what Abe Lincoln said
One time at Springfield.

Edgar Lee Masters

Week 570: La Casada Infiel, by Federico García Lorca

Normally I feel that writing about the act of love works best when it is oblique and suggestive rather than explicit, though this may just be me being a buttoned-up Englishman. There are, for example, certain lines in Robert Frost that I wouldn’t swop for the whole of ‘Lady Chatterley’s Lover’:

‘Up where the trees grow short, the mosses tall,
I made him gather me wet snowberries
On slippery rocks beside a waterfall.
I made him do it for me in the dark
And he liked everything I made him do’.
(from ‘The Pauper Witch of Grafton’)

I make an exception, however, for this celebrated poem by the Spanish poet and playwright Federico García Lorca (1898-1936), which is far from oblique yet is hard to match for sheer sensuality. Even so, its physicality is beautifully augmented by the evocative specificity of the ambience: the night, the river, the barking dogs far off.

The sexual politics of the poem are perhaps debatable. The woman appears to have made all the running and the gypsy portrays himself as only going along with her advances out of a sense of duty – ‘por compromiso’ – and because it would be unbecoming to his male pride to reject her. This seems a bit at odds with his nonetheless enthusiastic participation in the events that follow. Later his post-coital discretion as to what she has told him in the throes of passion is contrasted censoriously with her own indiscreet volubility. This all seems a bit ungallant, and is possibly offensive to women. However, while I have no experience in such matters, my first thought was that if the woman went with the man willingly, was happy to deceive him about her marital status, presumably had a good time and got a new sewing-basket into the bargain, then she didn’t have much to complain about. Then I read the suggestion that by giving her the present of a sewing-basket the man was actually insulting her by a) treating her like a prostitute needing to be paid for her sexual services and b) reminding her to be a good little housewife in future and stick to her domestic duties. This had not occurred to me. I can only say it sounded like quite a nice sewing-basket.

The accompanying translation is my own.

La Casada Infiel

Y que yo me la llevé al río
creyendo que era mozuela,
pero tenía marido.

Fue la noche de Santiago
y casi por compromiso.
Se apagaron los faroles
y se encendieron los grillos.
En las últimas esquinas
toqué sus pechos dormidos,
y se me abrieron de pronto
como ramos de jacintos.
El almidón de su enagua
me sonaba en el oído,
como una pieza de seda
rasgada por diez cuchillos.
Sin luz de plata en sus copas
los árboles han crecido,
y un horizonte de perros
ladra muy lejos del río.

*

Pasadas las zarzamoras,
los juncos y los espinos,
bajo su mata de pelo
hice un hoyo sobre el limo.
Yo me quité la corbata.
Ella se quitó el vestido.
Yo el cinturón con revólver.
Ella sus cuatro corpiños.
Ni nardos ni caracolas
tienen el cutis tan fino,
ni los cristales con luna
relumbran con ese brillo.
Sus muslos se me escapaban
como peces sorprendidos,
la mitad llenos de lumbre,
la mitad llenos de frío.
Aquella noche corrí
el mejor de los caminos,
montado en potra de nácar
sin bridas y sin estribos.
No quiero decir, por hombre,
las cosas que ella me dijo.
La luz del entendimiento
me hace ser muy comedido.
Sucia de besos y arena
yo me la llevé del río.
Con el aire se batían
las espadas de los lirios.

*

Me porté como quien soy.
Como un gitano legítimo.
Le regalé un costurero
grande de raso pajizo,
y no quise enamorarme
porque teniendo marido
me dijo que era mozuela
cuando la llevaba al río.


The Unfaithful Wife

So I took her to the river
Thinking that she was a maiden
But she had a husband.

It was on St James’s night
And almost out of duty.
The street lamps were turned off,
The crickets’ song was kindled.
There where the roads ran out
I touched her sleeping breasts.
At once they opened to me
Like sprays of hyacinth.
The starch of her petticoat
Sounded in my ears
Like a piece of silk
Tattered by ten knives.
The trees have grown, their tops
No more moon-silvered, taller.
Dogs bark on the horizon
Far beyond the river.

*

Past the bramble bushes,
The rushes and the hawthorns,
There beneath her spreading hair
I hollowed out the earth.
I took off my necktie
She took off her dress.
Me, my belt and revolver,
She, her four bodices.
No nard, no nacred shell
Has skin as smooth as hers,
No moonlight upon glass
Shines with such radiance.
Her thighs slipped from beneath me
Like two startled fish,
Full of fire above,
Chill as earth below.
So that night I travelled
Upon the best of roads,
Mounted on a pearl-white mare,
No bridle and no stirrup.
As a man I will not say
The things she said to me.
The dawn of understanding
Makes me hold my tongue.
Besmeared with sand and kisses
I took her from the river.
Stiff as swords, the lilies
Fought against the air.

*

I acted true to myself
Like a proper gypsy.
I gave her a sewing-basket,
Large, of yellow satin,
But I did not wish to love her
Because, having a husband,
She told me she was a maiden
When I took her to the river.

Week 569: From ‘Verses on the Death of Dr. Swift’, by Jonathan Swift

This is just a taste of a mordantly witty much longer poem by the great satirist Jonathan Swift (1667-1745), for my money one of the brighter sparks to illuminate a fairly dull period in English verse. In it he contemplates his demise and looks back with some satisfaction on his combative life. It was written in 1731, so well before his sad last years much troubled by illness and dementia, and his final interment in St Patrick’s Cathedral, Dublin, next to his beloved ‘Stella’, the name he gave to his lifelong friend and possible lover Esther Johnson. His epitaph can still be seen there, with its famous words ‘ubi saeva indignatio ulterius cor lacerare nequit’ (where fierce indignation can no longer injure the heart).

‘But not a traitor could be found’ – this refers to Swift’s involvement in undermining a plan by the English government to grant a monopoly to a certain William Wood to mint copper coins for use in Ireland. Swift was against this plan, fearing that it savoured of corruption and would lead to debasement of the coinage, and attacked it in a series of pseudonymous pamphlets, the ‘Drapier’s Letters’, in which he posed as a shopkeeper, a draper. In retaliation the government offered a sizeable reward to anyone exposing the true identity of the author, but Swift was a hero to the people of Ireland and there were no takers.

From ‘Verses on the Death of Dr. Swift’

He never courted men in station,
Nor persons held in admiration;
Of no man’s greatness was afraid,
Because he sought for no man’s aid.
Though trusted long in great affairs
He gave himself no haughty airs:
Without regarding private ends,
Spent all his credit for his friends;
And only chose the wise and good;
No flatt’rers; no allies in blood:
But succour’d virtue in distress,
And seldom fail’d of good success;
As numbers in their hearts must own,
Who, but for him, had been unknown.
    ‘With princes kept a due decorum,
But never stood in awe before ’em.
He follow’d David’s lesson just:
‘In princes never put thy trust’;
And, would you make him truly sour,
Provoke him with a slave in pow’r.
The Irish senate if you nam’d,
With what impatience he declaim’d!
Fair Liberty was all his cry,
For her he stood prepar’d to die;
For her he boldly stood alone;
For her he oft expos’d his own.
Two kingdoms, just as faction led,
Had set a price upon his head;
But not a traitor could be found
To sell him for six hundred pound.

Jonathan Swift

Week 568: The Impatient Maid, by George Peele

I thought this week’s poem, offering as it does a window on summers long past, would be a good way to say farewell to what this year at least has been a rather erratic season. George Peele (1556-1596) was an Elizabethan translator, poet and dramatist who may or may not have collaborated with Shakespeare on ‘Titus Andronicus’ but is now chiefly remembered for a handful of songs from his own plays. I’m not sure the Elizabethan Church would have approved of this incitement to amorous dalliances in the cornfields, but faced with so charming a piece what can one say but ‘Go for it, George!’.I do find the second line a bit problematic, however. It appears that ‘chop-cherry’ was a game, also known as cherry-bob, that involved trying to catch a cherry suspended on a string with one’s teeth. I don’t quite get the picture here. ‘Ripe within’ – within what? The rye? Are we to imagine lovers crawling about in the rye playing games with cherries on bits of string? I suspect there is a bit of euphemism at work here, and this seems to be borne out by another poem of the time by Robert Herrick, with a verse suggesting that this was indeed a pastime with erotic overtones:

‘But I shall ne’er forget
    How, for to make thee merry,
Thou mad’st me chop, but yet
    Another snapp’d the cherry’.

Historical note: the combination of strawberries and cream is said to have been the creation of Thomas Wolsey in the court of Henry VIII. The modern strawberry, big, juicy but often disappointingly tasteless, is a creation of the eighteen century, so the ones in the poem might have been closer to the wild strawberry, Fragaria vesca, smaller but sweetly flavorous.

The Impatient Maid

When as the rye reach’d to the chin,
And chop-cherry, chop-cherry ripe within,
Strawberries swimming in the cream,
And schoolboys playing in the stream;
Then O, then O, then O, my true love said,
Till that time come again
She could not live a maid!

George Peele