Week 644: Blackthorn Day, by David Sutton

It has been a cold grey couple of months, though snowless our way, but as I write there are actually gleams of sun, so I am hoping this one of my own might prove timely and strike a few chords with fellow spring watchers.

Blackthorn Day

A western wind, sudden and soft as May,
Long looked for yet amazing: perfect spring,
The year’s first windflowers, blossom in the wood,
The new air tart with nettle-growth and dung.
A day like hope: how quickly we forget
The soul’s long winter, when the sleet winds blew.
We surface now like dolphins into light.
To wait time out seems all we had to do.

It will not last, of course: we shall awake
To ordinary greyness and the rain.
So be it then: I would not wish a world
Unseasoned by such sweet recurring pain
Nor ask a heaven, that had no escape
From cloudless summers of eternal now
To mortal spring again, and blackthorn hope
For one day only, perfect on the bough.

David Sutton

Week 643: Der Tod der Geliebten, by Rainer Maria Rilke

This was the first Rilke poem I ever came across, and I was intrigued by its rich sound effects – the pattern in phrases like ‘leis aus seinen Augen ausgelöst’ is somewhat remininscent of Welsh cynghanedd – while at the same time wondering if a native German reader might find them a little over the top. Written in 1907, in its preoccupation with death it can be seen as a forerunner to his longer poem ‘Orpheus und Eurydice’, and his ‘Die Sonette an Orpheus’.

It may seem that in an age that has largely lost its confidence in an afterlife, Rilke’s poem savours of wishful thinking, but of course, if you are going to disallow wishful thinking in art you are going to say goodbye to a great deal of human culture.

The translation that follows is my own.

Der Tod der Geliebten

Er wusste nur vom Tod was alle wissen:
dass er uns nimmt und in das Stumme stößt.
Als aber sie, nicht von ihm fortgerissen,
nein, leis aus seinen Augen ausgelöst,

hinüberglitt zu unbekannten Schatten,
und als er fühlte, dass sie drüben nun
wie einen Mond ihr Mädchenlächeln hatten
und ihre Weise wohlzutun:

da wurden ihm die Toten so bekannt,
als wäre er durch sie mit einem jeden
ganz nah verwandt; er ließ die andern reden

und glaubte nicht und nannte jenes Land
das gutgelegene, das immersüße –
Und tastete es ab für ihre Füße.

The Death of the Beloved

He only knew of death what all men know:
It bears us to a silent world below,
And yet when she, not torn away from him,
But softly taken, like a light grown dim,

Across to unknown shadows made her glide,
And when he knew that they on that far side
Now like a full moon had her maiden’s smile,
Her gentle ways, her goodness without guile,

It seemed then that he knew them all, the dead,
As if, through her, he had become related.
The others talked and did not understand,

But he, the unbelieving, named that land
The well placed one, the one forever sweet,
And felt it out in spirit for her feet.

Week 642: Is My Team Ploughing?, by A.E.Housman

‘Is my team ploughing’ is poem XXVII in A.E.Housman’s 1896 collection ‘A Shropshire Lad’, and shows the poet’s skill at adapting the question and answer format of folk ballads for his own mordantly humorous purposes.

The poem was famously set to music by Ralph Vaughan Williams. I suppose the price we have to pay for such sublime pieces of music as ‘Fantasia on a Theme of Thomas Tallis’, ‘Five Variants of Dives and Lazarus’ and ‘Job: A Masque for Dancing’ is Vaughan Williams’s penchant for making ghastly drawing-room arrangements of other people’s poems. Housman himself did not like the result at all and was particularly annoyed to discover that Vaughan Williams had cut out verses 3 and 4 – ‘how would he like it if I started cutting bars out of his music?’, but Vaughan Williams was unrepentant and defended himself stoutly, saying he felt that ‘a poet should be grateful to anyone who fails to perpetuate such lines as “The goal stands up, the keeper/Stands up to keep the goal”’. Reluctantly I have to agree that those two verses are indeed no great loss.

XXVII

‘Is my team ploughing,
      That I was used to drive
And hear the harness jingle
      When I was man alive?’

Ay, the horses trample,
      The harness jingles now;
No change though you lie under
      The land you used to plough.

‘Is football playing
      Along the river shore,
With lads to chase the leather,
      Now I stand up no more?’

Ay, the ball is flying,
      The lads play heart and soul;
The goal stands up, the keeper
      Stands up to keep the goal.

‘Is my girl happy,
      That I thought hard to leave,
And has she tired of weeping
      As she lies down at eve?’

Ay, she lies down lightly,
      She lies not down to weep:
Your girl is well contented.
      Be still, my lad, and sleep.

‘Is my friend hearty,
      Now I am thin and pine,
And has he found to sleep in
      A better bed than mine?’

Yes, lad, I lie easy,
      I lie as lads would choose;
I cheer a dead man’s sweetheart,
      Never ask me whose.

A.E.Housman

Week 641: Lament of the Old Woman of Beare, by Anon

This is my own take on the famous Old Irish lament, poignant in its depiction of old age, that I mentioned in a reply to a comment a couple of weeks back. I have not on this occasion included the Irish text because my version is more a distillation than a translation as such, omitting some stanzas and being rather free with others, so it would not contribute much to a word-for-word understanding of the original. More literal translations are available online.

The poem is thought to have been written in the late 8th or early 9th century. The Old Woman of Beare was originally an immortal mythological figure, to be equated with the Cailleach, ancestress of races and creator of the landscape, raising mountains and cairns, but by the time of the poem’s composition she has come to be seen simply as a very old woman who has outlived friends and lovers and now consorts with a Christian saint, much as Finn’s son Oisin was seen. It is a pity to lose the  mythological dimension, but on the other hand it does bring the human side into focus, making the old woman the epitome of grandmothers throughout the ages, railing against the ravages of time and deploring the mores of the young while remembering her own colourful past.

Lament of the Old Woman of Beare

(after the Irish)

I who was young am old.
Ebb-tide has come to me.
The days of my life flow outward,
The days of my life like the sea.

I am the Old Woman of Beare.
I used to wear a dress
Brand-new each morning. Now
I walk in nakedness.

When we were young we loved
Men; the girls today
Care for riches more.
The men have passed away.

Swift chariots and steeds
That bore off every prize –
Their day passed long ago.
Every good thing dies.

Look at these arms now.
They used to circle kings.
The bones stick through the flesh.
On them no wedding-rings.

The Stone of the Kings on Femen,
Mighty Ronan’s chair –
Their cheeks of stone are withered.
How shall flesh ones fare?

Femen’s plain I envy.
It has a yellow crop.
My crop is grey: I must
Wear this veil atop.

The waves of the sea are talking,
The wind blows up their spray.
Fermuid who was my darling
Will not come today.

I know where the kings’ sons are.
They rowed across the sea.
Under the reeds of Alma
The lads that lay with me.

The flood-tide and the ebb,
The fluxes of the main,
I have known them all.
They will not come again.

The ebb is with me now.
No second flood will come.
I wait for the winds to be silent,
For the voice of the sea to be dumb.


Week 640: The Journey Back, by Seamus Heaney

I find the first line of this poem rather arresting but also teasingly ambiguous. What is it that Seamus Heaney is surprised at – the fact that Larkin’s shade appears to him at all or the fact that it quotes Dante? Given Larkin’s record with foreign languages (‘Do you read much foreign poetry, Mr Larkin?’ ‘Foreign poetry? No!’) my money is on the latter. Though of course this carefully cultivated philistinism could just have been part of Larkin’s self-protective façade, his understandable distrust of critics and academics who know everything about poetry except how to write it, and Heaney could be gently poking fun at that façade. Anyway, it is a generous and perceptive tribute from one poet to another who had indeed celebrated ‘the heartland of the ordinary’ but who had not always been so generous in return (I believe Larkin’s private name for Heaney was the Bogman).

The Journey Back

Larkin’s shade surprised me. He quoted Dante:

‘Daylight was going and the umber air
Soothing every creature on the earth,
Freeing them from their labours everywhere.

I alone was girding myself to face
the ordeal of my journey and my duty’
And not a thing had changed, as rush-hour buses

Bore the drained and laden through the city.
I might have been a wise king setting out
Under the Christmas lights – except that

It felt more like the forewarned journey back
Into the heartland of the ordinary.
Still my old self. Ready to knock one back.

A nine-to-five man who had seen poetry.

Seamus Heaney

Week 639: From ‘The Passing of Arthur’ by Alfred, Lord Tennyson

This week’s offering is selections from the final book of Tennyson’s ‘Idylls of the King’, a work immensely popular in Victorian times, but I would guess little read now. It is not hard to see why: the poem has its virtues, being characteristically mellifluous, but it is too stuffed with Victorian piety and has just too many words for a more secular age not known for the length of its attention span. The dying Arthur, for example, despite suffering from a fatal head wound manages to sermonise at a length that would put any operatic diva to shame. Yet here and there visual and aural effects combine to create a hauntingly elegiac music.

From ‘The Passing of Arthur’

So all day long the noise of battle roll’d
Among the mountains by the winter sea;
Until King Arthur’s Table, man by man,
Had fall’n in Lyonnesse about their lord,
King Arthur. Then, because his wound was deep,
The bold Sir Bedivere uplifted him,
And bore him to a chapel nigh the field,
A broken chancel with a broken cross,
That stood on a dark strait of barren land:
On one side lay the Ocean, and on one
Lay a great water, and the moon was full.

    Then spake King Arthur to Sir Bedivere:
‘The sequel of to-day unsolders all
The goodliest fellowship of famous knights
Whereof this world holds record. Such a sleep
They sleep – the men I loved. I think that we
Shall never more, at any future time,
Delight our souls with talk of knightly deeds,
Walking about the gardens and the halls
Of Camelot, as in the days that were.
I perish by this people which I made, –  
Tho’ Merlin sware that I should come again
To rule once more; but, let what will be, be,
I am so deeply smitten thro’ the helm
That without help I cannot last till morn.
Thou therefore take my brand Excalibur,
Which was my pride: for thou rememberest how
In those old days, one summer noon, an arm
Rose up from out the bosom of the lake,
Clothed in white samite, mystic, wonderful,
Holding the sword – and how I row’d across
And took it, and have worn it, like a king;
And, wheresoever I am sung or told
In aftertime, this also shall be known:
But now delay not: take Excalibur,
And fling him far into the middle mere:
Watch what thou seëst, and lightly bring me word.’

The bold Sir Bedivere duly takes the sword, but twice cannot bring himself to carry out the task, waste of a good sword and all that. The second time he comes back Arthur says he will give him one more chance and if he fails again ‘I will arise and slay thee with my hands’. At this point you feel Sir Bedivere might be excused for saying ‘Look, mate, if you’re feeling that chipper all of a sudden go and throw the damn sword in yourself’, but no, off he goes and this time duly throws the sword far into the lake, at which point out comes an arm, ‘clothed in white samite, mystic wonderful’ and clearly belonging to one who should be playing for the England ladies’ cricket team, and catches it by the hilt.

Sir Bedivere returns and reports, this time to Arthur’s satisfaction, and there is now a bit of a rush to get to the lake to catch a barge which will be coming to take the king away, but Sir Bedivere gives Arthur a piggyback and thanks to some nifty footwork by Sir B. over slippery ground – Tennyson here doing the kind of thing he does best, I think – they make it in time for Arthur to be taken aboard and welcomed by three queens.

    But, as he walk’d, King Arthur panted hard,
Like one that feels a nightmare on his bed
When all the house is mute. So sigh’d the King,
Muttering and murmuring at his ear, ‘Quick, quick!
I fear it is too late, and I shall die.’
But the other swiftly strode from ridge to ridge,
Clothed with his breath, and looking, as he walk’d,
Larger than human on the frozen hills.
He heard the deep behind him, and a cry
Before. His own thought drove him like a goad.
Dry clash’d his harness in the icy caves
And barren chasms, and all to left and right
The bare black cliff clang’d round him, as he based
His feet on juts of slippery crag that rang
Sharp-smitten with the dint of armed heels–
And on a sudden, lo! the level lake,
And the long glories of the winter moon.

    Then saw they how there hove a dusky barge,
Dark as a funeral scarf from stem to stern,
Beneath them; and descending they were ware
That all the decks were dense with stately forms,
Black-stoled, black-hooded, like a dream – by these
Three Queens with crowns of gold: and from them rose
A cry that shiver’d to the tingling stars,
And, as it were one voice, an agony
Of lamentation, like a wind that shrills
All night in a waste land, where no one comes,
Or hath come, since the making of the world.

Arthur takes his place in the barge, leaving a forlorn Sir Bedivere to make a rather plaintive appeal, which gives Arthur the chance for a final bit of sermonising, while the three queens, one imagines, wait rather impatiently in the background: ‘Don’t want to rush you, Arthur, but we really ought to get that head wound seen to…’

    Then loudly cried the bold Sir Bedivere:
‘Ah! my Lord Arthur, whither shall I go?
Where shall I hide my forehead and my eyes?
For now I see the true old times are dead,
When every morning brought a noble chance,
And every chance brought out a noble knight.
Such times have been not since the light that led
The holy Elders with the gift of myrrh.
But now the whole Round Table is dissolved
Which was an image of the mighty world,
And I, the last, go forth companionless,
And the days darken round me, and the years,
Among new men, strange faces, other minds.’

    And slowly answer’d Arthur from the barge:
‘The old order changeth, yielding place to new,
And God fulfils himself in many ways,
Lest one good custom should corrupt the world.
Comfort thyself: what comfort is in me?
I have lived my life, and that which I have done
May He within himself make pure! but thou,
If thou shouldst never see my face again,
Pray for my soul. More things are wrought by prayer
Than this world dreams of. Wherefore, let thy voice
Rise like a fountain for me night and day.
For what are men better than sheep or goats
That nourish a blind life within the brain,
If, knowing God, they lift not hands of prayer
Both for themselves and those who call them friend?
For so the whole round earth is every way
Bound by gold chains about the feet of God.
But now farewell. I am going a long way
With these thou seëst – if indeed I go
(For all my mind is clouded with a doubt) –
To the island-valley of Avilion;
Where falls not hail, or rain, or any snow,
Nor ever wind blows loudly; but it lies
Deep-meadow’d, happy, fair with orchard lawns
And bowery hollows crown’d with summer sea,
Where I will heal me of my grievous wound.’

    So said he, and the barge with oar and sail
Moved from the brink, like some full-breasted swan
That, fluting a wild carol ere her death,
Ruffles her pure cold plume, and takes the flood
With swarthy webs. Long stood Sir Bedivere
Revolving many memories, till the hull
Look’d one black dot against the verge of dawn,
And on the mere the wailing died away.

Alfred, Lord Tennyson

Week 638: Cotswold Ways, by Ivor Gurney

Another of Ivor Gurney’s odd yet oddly compelling poems, that really shouldn’t work: a jumble of seemingly random images and eccentric syntax somehow held together by one passionate and highly individual voice. This one is not one of the war poems for which he became best known (see week 24) but draws on his beloved Gloucestershire, and it is possible that I have a particular affection for it because one hot July in 1989 I walked the Cotswold Way from north to south, and realised I was passing through Gurney country and experiencing as he must have done the same seethe of chaotic sensations: heat and light, the tart smell of dung on pastures, peacock butterflies on purple knapweed, cattle-troughs with clear dark water above the green and amber glimmer of flat limestones, shepherd tracks and pilgrim tracks, edged with meadowsweet and dusty cow parsley, churches cool as lilies in the blaze of the afternoon, sweet smells of hay, ripe smells of barley, acres of gold and auburn stubble, the blessed deep shade of beech woods, hill-forts and standing stones, the turf-clad vallum of Beckbury Camp and the mound of Belas Knap like a strange green space ship. And abbey and almshouse, country mansion and cottage, one can shuffle through that country knee-deep in history like autumn leaves.

Cotswold Ways

One comes across the strangest things in walks:
Fragments of Abbey tithe-barns fixed in modern
And Dutch-sort houses where the water baulks
Weired up, and brick kilns broken among fern,
Old troughs, great stone cisterns bishops might have blessed
Ceremonially, and worthy mounting-stones;
Black timber in red brick, queerly placed
Where Hill stone was looked for – and a manor’s bones
Spied in the frame of some wisteria’d house
And mill-falls and sedge pools and Saxon faces;
Stream-sources happened upon in unlikely places,
And Roman-looking hills of small degree
And the surprise of dignity of poplars
At a road end, or the white Cotswold scars,
Or sheets spread white against the hazel tree.
Strange the large difference of up-Cotswold ways;
Birdlip climbs bold and treeless to a bend,
Portway to dim wood-lengths without end,
And Crickley goes to cliffs are the crown of days.

Ivor Gurney

Week 637: The Fiddler of Dooney, by W.B.Yeats

This is another one from the more populist end of W.B.Yeats’s wide-ranging oeuvre, being akin to other such early pieces as ‘The Ballad of Father Gilligan’ and ‘The Host of the Air’ with their cast of priests and angels and fairy pipers, poems infused with a religiose sentimentality that certainly forms no part of my own agnostic sensibility. And yet I like it, even while remaining doubtful of its assertions. Are the truly good always the merry? I would have thought they were more likely to exist in a state of permanent frazzlement, as part of that cadre Keats defines as ‘those to whom the miseries of the world/Are misery, and will not let them rest’. And yet it may be that they do carry within them some fount of secret joy that only awaits its time to find expression, and that such a time, as in this poem, may best be provided by music.

Yeats comments: ‘A couple of miles from Innisfree, no four or five miles from Innisfree, there’s a great rock called Dooney Rock where I had often picnicked when a child. And when in my 24th year I made up a poem about a merry fiddler I called him ‘The Fiddler of Dooney’ in commemoration of that rock and of all those picnics. The places mentioned in the poem are all places near Sligo.’

The Fiddler Of Dooney

When I play on my fiddle in Dooney.
Folk dance like a wave of the sea;
My cousin is priest in Kilvarnet,
My brother in Mocharabuiee.

I passed my brother and cousin:
They read in their books of prayer;
I read in my book of songs
I bought at the Sligo fair.

When we come at the end of time
To Peter sitting in state,
He will smile on the three old spirits,
But call me first through the gate;

For the good are always the merry,
Save by an evil chance,
And the merry love the fiddle,
And the merry love to dance:

And when the folk there spy me,
They will all come up to me,
With ‘Here is the fiddler of Dooney!’
And dance like a wave of the sea.

W.B.Yeats

Week 636: The More Loving One, by W.H.Auden

I suppose that this could be classed as one of Auden’s lighter pieces, but it does have that Audenesque quality of slipping effortlessly into the memory, a demonstration of what can still be done with those unfashionable things, metre and rhyme, and the sentiment is a serious enough one.

Given Auden’s own troubled relationship with his partner and collaborator, Chester Kallman, who found himself unable to comply with Auden’s demands for mutual fidelity, I have always felt that there was an undercurrent of pathos in this poem: Auden realising that he was indeed doomed to be the more loving one, and making the best of a bad job. But from what I have observed it seems to me that to be the more loved one has the potential to be equally trying, and that the most successful relationships tend to be those founded on a perfect balance of mutual incomprehension and irreverent badinage, in which such introspective calculations, if they exist at all, rarely surface.

The More Loving One

Looking up at the stars, I know quite well
That, for all they care, I can go to hell,
But on earth indifference is the least
We have to dread from man or beast.

How should we like it were stars to burn
With a passion for us we could not return?
If equal affection cannot be,
Let the more loving one be me.

Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
I missed one terribly all day.

Were all stars to disappear or die,
I should learn to look at an empty sky
And feel its total dark sublime,
Though this might take me a little time.


W.H.Auden

Week 635: From ‘Sur la mort de Marie’, by Pierre Ronsard

This celebrated sonnet by the French poet Pierre Ronsard (1524-1585; see also week 233) was first published in 1578. Officially it was written at the request of Henry III, who had just lost his mistress Marie de Clèves who died at the age of 21 in 1574, but its real inspiration was Ronsard’s loss of his own beloved Marie, a peasant woman called Marie Dupin who had also died young in 1573.

The poem turns on the one central trope of comparing the life of a beautiful woman to the life of a flower, and I suppose you could call Ronsard a poet of convention, classical in diction and sentiment, rather than a mould-breaker in the manner of, say, Villon. Yet few have ever done the conventional better than Ronsard at his best.

The translation that follows is my own.

From ‘Sur la mort de Marie’

Comme on voit sur la branche au mois de mai la rose
En sa belle jeunesse, en sa première fleur,
Rendre le ciel jaloux de sa vive couleur,
Quand l’Aube de ses pleurs au point du jour l’arrose:

La grâce dans sa feuille, et l’amour se repose,
Embaumant les jardins et les arbres d’odeur:
Mais battue ou de pluye ou d’excessive ardeur,
Languissante elle meurt feuille à feuille déclose.

Ainsi en ta première et jeune nouveauté,
Quand la terre et le ciel honoraient ta beauté,
La Parque t’a tuée, et cendre tu reposes.

Pour obsèques reçois mes larmes et mes pleurs,
Ce vase plein de lait, ce pannier plein de fleurs,
Afin que vif et mort ton corps ne soit que roses.

Pierre Ronsard

As you see upon the branch, in the month of May,
The rose, so young and fair in its first bloom,
That the sky weeps, with envy overcome,
Bedewing its fine tint at break of day:

Such grace and love reposing in that spray,
It scents the gardens round, the woodland glades,
Until rain-beaten or sun-scorched it fades
Petal by petal in a slow decay:

Just so in your first youth and novelty,
As earth and sky were honouring your beauty,
Fate cut you down; as ash you lie today..

Receive then these my tears for threnody,
This vase of milk, these blooms, that of your body
In life and death, may only roses stay.