Category Archives: poetry

Week 228: Wood Magic, by John Buchan

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At the back of the house where I lived as a child was the Field, and beyond the Field was the Wood. I can see now that it was neither a very big wood nor a very wild one, but everything seems bigger and wilder when you are a child, and since I was brought up in the carefree days of the nineteen-fifties when mothers really didn’t care where you were for most of the day as long as you weren’t indoors getting under their feet, an awful lot of my free time from the age of six or so was spent wandering its groves and dells, sometimes in company but often alone. It was a place that for me combined fear and romance in equal measure: to step into it seemed to be to enter another, older time, and when at the age of twelve I came across this poem in John Buchan’s ‘The Moon Endureth’ (having first been attracted to that book by a remarkable short story ‘The Lemnian’), I felt I knew exactly what Jehan the hunter was talking about. It may seem a very old-fashioned sort of poem now, but somehow it still brings back to me (as does Kipling’s ‘The Way Through The Woods’), the magical experience of entering the Wood as a child, late on a summer evening with twilight already gathering under the trees.

Wood Magic

I will walk warily in the wise woods on the fringes of eventide,
For the covert is full of noises and the stir of nameless things.
I have seen in the dusk of the beeches the shapes of the lords that ride,
And down in the marish hollow I have heard the lady who sings.
And once in an April gloaming I met a maid on the sward,
All marble-white and gleaming and tender and wild of eye; –
I, Jehan the hunter, who speak am a grown man, middling hard,
But I dreamt a month of the maid, and wept I knew not why.

Down by the edge of the firs, in a coppice of heath and vine,
Is an old moss-grown altar, shaded by briar and bloom,
Denys, the priest, hath told me ’twas the lord Apollo’s shrine
In the days ere Christ came down from God to the Virgin’s womb.
I never go past but I doff my cap and avert my eyes –
(Were Denys to catch me I trow I’d do penance for half a year) –
For once I saw a flame there and the smoke of a sacrifice,
And a voice spake out of the thicket that froze my soul with fear.

Wherefore to God the Father, the Son, and the Holy Ghost,
Mary the Blessed Mother, and the kindly Saints as well,
I will give glory and praise, and them I cherish the most,
For they have the keys of Heaven, and save the soul from Hell.
But likewise I will spare for the Lord Apollo a grace,
And a bow for the lady Venus – as a friend but not as a thrall.
‘Tis true they are out of Heaven, but some day they may win the place;
For gods are kittle cattle, and a wise man honours them all.

John Buchan

Week 227: The Send-off, by Wilfred Owen

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My home in South Oxfordshire is only a few miles from the village of Dunsden, where the poet Wilfred Owen worked before the First World War as a lay assistant to the vicar. It was not a happy time for him: he clashed with his employer and became disenchanted with the Church, which he saw as being indifferent to the poverty and ill-health that he saw all round him. But now Dunsden is understandably rather proud of its association with the awkward young man who went on to become the greatest poet of the First World War, and last weekend my wife and I went to a Snowdrop Sunday at the church there which featured a celebration of the poet and a reading from his work, that included the poem below.

It’s a secretive, anonymous countryside, this southern outlier of the Chiltern Hills, only a few miles from the bustle of Reading, but its lanes and woods can seem little changed from an older time, and it struck me that though Owen wrote this poem during his stay at Craiglockhart in Scotland, this may well have been the area he had in mind when he wrote in the closing lines of ‘half-known roads’ and ‘village wells’ – a very fine example of a village well can still be seen a few miles away at Stoke Row.

The Send-off

Down the close, darkening lanes they sang their way
To the siding-shed,
And lined the train with faces grimly gay.

Their breasts were stuck all white with wreath and spray
As men’s are, dead.

Dull porters watched them, and a casual tramp
Stood staring hard,
Sorry to miss them from the upland camp.
Then, unmoved, signals nodded, and a lamp
Winked to the guard.

So secretly, like wrongs hushed-up, they went.
They were not ours:
We never heard to which front these were sent.

Nor there if they yet mock what women meant
Who gave them flowers.

Shall they return to beatings of great bells
In wild trainloads?
A few, a few, too few for drums and yells,
May creep back, silent, to still village wells
Up half-known roads.

Wilfred Owen

Week 226: So We’ll Go No More a-Roving, by Lord Byron (George Gordon)

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There is a paradox about this best and best-known of Byron’s lyrics, which is that it is really not very Byronic, that it bears so little imprint of the entertainingly dodgy character who pervades poems like ‘Don Juan’. Instead, it attains to the kind of anonymous purity and freshness one normally associates with folksong, in the way that Burns or chameleonic Shakespeare sometimes managed.

So, We’ll Go No More a-Roving

So, we’ll go no more a-roving
So late into the night,
Though the heart still be as loving,
And the moon still be as bright.

For the sword outwears its sheath,
And the soul wears out the breast,
And the heart must pause to breathe,
And love itself have rest.

Though the night was made for loving,
And the day returns too soon,
Yet we’ll go no more a-roving
By the light of the moon.

Lord Byron (George Gordon)

Week 225: Linum, by Alison Brackenbury

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Some years ago one of the fields round the South Oxfordshire village where I live, normally given over to corn, turned a most amazing shade of blue, as if a patch of heaven had fallen to earth, though it appears that a more mundane explanation had to do with EU subsidies at the time. At first I was completely puzzled as to what the crop could be, until I remembered a passage from John Moore’s ‘Brensham Trilogy’: ‘an azure mist upon the field, like smoke from a squitch-fire’. Of course: this was flax or linseed, the ‘blue field’ that had given the third of the trilogy its title. After due contemplation I went on my way with a definite feeling that here was something I would one day write a poem about. Now, you can’t rush these things: a poem will come when it’s ready, but there can be a small problem with this relaxed attitude, as I discovered when some time later I came across this piece by Alison Brackenbury and found, slightly to my annoyance, that she had very definitely scooped me. Fair play to Alison though: it’s hard to imagine how anyone could have made a better job of it.

Linum

It is not tall enough, it will not make a crop –
it has changed its name. It used to be flax,
maker of sheets for fine ladies’ beds.
Now it is linseed; feeds cattle.
It is high as a knee, blown with threads of leaf,
scattered with flower. What corn is blue?

They are mouths, they are stars, they gleam
sweet as those pictures of children under dark leaf
in frames of dark gilt. It knows nothing;
the sky is bitterer. Last night’s sun
was icy lemon, with drifts fog grey;
the morning’s blaze is for storm. The flax flowers
begin to shimmer, with a metal edge,
to reflect ripe cloud, race a colder sea.
The flies still whirl in hot air, and I
rise quick up the ridge, through the brief, starred fields.
It is not every day you can run through the sky.

Alison Brackenbury

 

Week 224: Je me souviens, by Jules Supervielle

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The French poet Jules Supervielle (1884-1960) wrote many tender love poems to his wife Pilar, whom he married in Montevideo in 1907, Uruguay (the country ‘fort au sud’ referred to in the poem) being the country of his birth. This is one of them. 

The translation that follows is my own. I confess to not quite understanding the words in the fourth line ‘lui donne son nom’ – did Supervielle think that the French words ‘coeur’ and ‘carrefour’ were etymologically connected? This does not in fact seem to be the case. 

Je me souviens

Je me souviens – lorsque je parle ainsi
Ah saura-t-on jamais qui se souvient
Dans tout ce chaud murmurant carrefour
Qui fait le coeur et lui donne son nom –
Je me souviens, c’était dans un pays
Qu’on aperçoit fort au sud sur les cartes,
Le ciel mouillait à tort et à travers
Le grand matin noir et plein d’innocence.
Je me souviens – cette fois je suis sûr
Qu c’est bien moi qui hume ce temps-là –
Je vous trouvai durant une accalmie
Vous qui deviez devenir mon amie
Pendant vingt ans, et c’est encor vrai.

Jules Supervielle

I Remember 

I remember – ah, but when I speak this way
Can we ever know for sure what memories
Meet at that warm murmuring crossroads within
We call the heart, which gives it its name? –
I remember, it was in another country
You see on maps a long way to the south.
It rained as if the rain would never cease
That great dark morning full of innocence.
I remember – and for once I am quite sure
That it is I who breathe in that time’s air –
I found you as the sky began to clear
You who would become my wife, my friend
These twenty years gone by, and are still here.

Week 223: Bells for John Whiteside’s Daughter, by John Crowe Ransom

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I promised we’d come back to John Crowe Ransom so here is another of his elegies for dead children (cf. week 50), and again it is something of a puzzle to me, not because of any difficulty with the meaning, but because one feels that Ransom’s slightly archaic style, fastidious to the point of preciousness, like a man handling words with white gloves, simply should not work as well as it does, especially for a subject of such pathos. Yet somehow those cadences mesmerise.

Bells for John Whiteside’s Daughter

There was such speed in her little body,
And such lightness in her footfall,
It is no wonder her brown study
Astonishes us all.

Her wars were bruited in our high window.
We looked among orchard trees and beyond
Where she took arms against her shadow,
Or harried unto the pond

The lazy geese, like a snow cloud
Dripping their snow on the green grass,
Tricking and stopping, sleepy and proud,
Who cried in goose, Alas,

For the tireless heart within the little
Lady with rod that made them rise
From their noon apple-dreams and scuttle
Goose-fashion under the skies!

But now go the bells, and we are ready,
In one house we are sternly stopped
To say we are vexed at her brown study,
Lying so primly propped.

John Crowe Ransom

Week 222: Field Day, by W.R.Rodgers

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This poem by the Irish poet W.R.Rodgers (1909-1969), about how landscapes, or just odd scraps of landscape, can be numinous for us makes an interesting comparison with Patrick Kavanagh’s poem ‘Innocence’ and his love for ‘The triangular hill that hung/Under the Big Forth’ – see week 10. My own numinous field, the wheatfield that started at the bottom of my garden when I was a child, was not triangular but a great rectangle that dipped and then curved up to a line of woodland. Last time I went back they were building a new housing estate on it. Well, people need places to live, but they also need places to live.

Field Day

The old farmer, nearing death, asked
To be carried outside and set down
Where he could see a certain field
‘And then I will cry my heart out’, he said.

It troubles me, thinking about that man;
What shape was the field of his crying In Donegal?

I remember a small field in Down, a field
Within fields, shaped like a triangle.
I could have stood there and looked at it
All day long.

And I remember crossing the frontier between
France and Spain at a forbidden point, and seeing
A small triangular field in Spain,
And stopping

Or walking in Ireland down any rutted by-road
To where it hit the high-way, there was always
At this turning point and abutment
A still centre, a V-shape of grass
Untouched by cornering traffic.
Where country lads larked at night.

I think I know what the shape of the field was
That made the old man weep.

W.R.Rodgers

Week 221: Die Erblindende, by Rainer Maria Rilke

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Another of my favourite poems by the German poet Rainer Maria Rilke, a small masterpiece of delicate, compassionate observation. The translation that follows is my own.

Die Erblindende

Sie saß so wie die anderen beim Tee.
Mir war zuerst, als ob sie ihre Tasse
ein wenig anders als die andern fasse.
Sie lächelte einmal. Es tat fast weh.

Und als man schließlich sich erhob und sprach
und langsam und wie es der Zufall brachte
durch viele Zimmer ging (man sprach und lachte),
da sah ich sie. Sie ging den andern nach,

verhalten, so wie eine, welche gleich
wird singen müssen und vor vielen Leuten;
auf ihren hellen Augen die sich freuten war
Licht von außen wie auf einem Teich.

Sie folgte langsam und sie brauchte lang
als wäre etwas noch nicht überstiegen;
und doch: als ob, nach einem Übergang,
sie nich mehr gehen würde, sondern fliegen.

Rainer Maria Rilke

Going Blind

She sat just like the rest of them at tea.
What struck me first was how she held her cup
Not quite the same as others in the group.
She sometimes smiled. It almost hurt to see.

And when the others rose at last and went
From room to room, taking their random way,
Laughing and talking, with so much to say,
I saw her. She was following, intent

On some thought of her own, like one aware
She soon would have to sing for many people,
While light on her bright eyes, as on a pool,
Gleamed from beyond, reflecting gladness there.

She followed slowly, so long passing by
As if there were still something to surmount;
And yet, once she had mastered that ascent,
She would no more be walking, but would fly.

Week 220: Danny Deever, by Rudyard Kipling

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I think my father only ever read one poem in his life, Rudyard Kipling’s ‘If’, which he carried about with him as a cutting in his wallet. All credit to it for seeing him through some difficult times of war and ill-health, though I had my own reservations about the poem. ‘If you can force your heart and nerve and sinew/To serve your turn long after they are gone….’ – what did that even mean? There are strict physiological limits, and the toughest athletes in the world, though their limits may be very different from ours, will still come up against them. No, I felt that if you wanted to represent Kipling as a poet there were better things to be had, prime among them being the powerful and disturbing ‘Danny Deever’. I don’t read it that Kipling is necessarily opposed to the ultimate penalty being enforced in capital cases, but there is no relish about it, such as Kipling’s detractors might have looked for, just a grim recognition that the administration of such justice exacts its toll on the humanity of all concerned.

Danny Deever

‘What are the bugles blowin’ for?’ said Files-on-Parade.
‘To turn you out, to turn you out,’ the Colour-Sergeant said.
‘What makes you look so white, so white?’ said Files-on-Parade.
‘I’m dreadin’ what I’ve got to watch,’ the Colour-Sergeant said.
For they’re hangin’ Danny Deever, you can hear the Dead March play,
The regiment’s in ‘ollow square–they’re hangin’ him to-day;
They’ve taken of his buttons off an’ cut his stripes away,
An’ they’re hangin’ Danny Deever in the mornin’.

‘What makes the rear-rank breathe so ‘ard?’ said Files-on-Parade.
‘It’s bitter cold, it’s bitter cold,’ the Colour-Sergeant said.
‘What makes that front-rank man fall down?’ says Files-on-Parade.
‘A touch o’ sun, a touch o’ sun,’ the Colour-Sergeant said.
They are hangin’ Danny Deever, they are marchin’ of ‘im round,
They ‘ave ‘alted Danny Deever by ‘is coffin on the ground;
An’ e’ll swing in ‘arf a minute for a sneakin’ shootin’ hound–
O they’re hangin’ Danny Deever in the mornin’!

‘Is cot was right-‘and cot to mine,’ said Files-on-Parade.
‘E’s sleepin’ out an’ far tonight,’ the Colour Sergeant said.
‘I’ve drunk ‘is beer a score o’ times,’ said Files-on-Parade.
‘E’s drinkin bitter beer alone,’ the Colour-Sergeant said.
They are hangin’ Danny Deever, you must mark ‘im to ‘is place,
For ‘e shot a comrade sleepin’–you must look ‘im in the face;
Nine ‘undred of ‘is county an’ the regiment’s disgrace,
While they’re hangin’ Danny Deever in the mornin’.

‘What’s that so black agin the sun?’ said Files-on-Parade.
‘It’s Danny fightin’ ‘ard for life,’ the Colour-Sergeant said.
‘What’s that that whimpers over’ead?’ said Files-on-Parade.
‘It’s Danny’s soul that’s passin’ now,’ the Colour-Sergeant said.
For they’re done with Danny Deever, you can ‘ear the quickstep play,
The regiment’s in column, an’ they’re marchin’ us away;
Ho! the young recruits are shakin’, an’ they’ll want their beer today,
After hangin’ Danny Deever in the mornin’.

Rudyard Kipling

Week 219: Epitaph on an Army of Mercenaries, by A.E.Housman

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I do have a strong preference for poems that seem to me to be not just eloquent but true, by which I mean, I suppose, in accordance with the facts of life as I perceive them. Because of this these two poems taken in combination give me an acute case of cognitive dissonance, since both are eloquent and I feel that both have something to be said for them, yet their viewpoints could hardly be more diametrically opposed. As a peace-loving child of risk-adverse times, I count it one of the blessings of my life that my country has allowed me to get to a fairly advanced age without requiring me to get myself killed or, a prospect I view with an almost equal lack of enthusiasm, to kill anybody else. To that extent, I am with MacDiarmid. But then I am minded of the quote (often attributed to Orwell, though it appears he never used these exact words) ‘We sleep safely in our beds because rough men stand ready in the night to visit violence on those who would harm us’. One also has to consider that while Housman may have been somewhat given to the romanticisation of things military, in a way that became rather more difficult after World War I and the reports of poets who had actually seen the face of modern warfare, this possible flaw in his moral stance is surely far outweighed by MacDiarmid’s adulation of totalitarian Russia: the proposition that Stalin’s regime was a better bet than Housman’s ‘Old Contemptibles’ when it came to preserving ‘elements of worth’, seems, to put it mildly, dubious. So, in the end, Housman for me.

Epitaph on an Army of Mercenaries

These, in the day when heaven was falling,
The hour when earth’s foundations fled,
Followed their mercenary calling,
And took their wages, and are dead.

Their shoulders held the sky suspended;
They stood, and earth’s foundations stay;
What God abandoned, these defended,
And saved the sum of things for pay.

A.E. Housman

Another Epitaph on an Army of Mercenaries

It is a God-damned lie to say that these
Saved, or knew, anything worth any man’s pride,
They were professional murderers and they took
Their blood money and their impious risks and died.
In spite of all their kind some elements of worth
With difficulty persist here and there on earth.

Hugh MacDiarmid