Week 647: Teens, by Molly Holden

For me this poem captures beautifully that feeling of alienation mingled with relief that arises at a certain age, typically around thirteen, when you realise that human beings are interesting and some may even be lovable but that you have very little in common with most of them and you might as well stop trying to belong and instead do your own thing, contentedly brooding, like the poet here, at the shadowy edge of things. And of course, she is by no means the first poet to find delight in the dissolution of the self into the natural world: think of Keats with his sparrow pecking in the gravel, or Hopkins with his inscapes.

Teens

That was always my place, preferably
at dusk, in a slight rain
– below the drenched allotment bank,
by the bridge not often shaken by a train.

The neat hedge ended there, the fields began,
sloping to shrouded hills,
and the lane grew pot-holed, led only
to flowery pastures and abandoned mills.

There I would stand in the mizzle, watching
thirty martins or so
hawking silently above the meadows
high on black lines of flight, eerily low

as the heads of the grasse, swerving
only at solid hedge
and me, a contentedly brooding phantom,
at the lane’s, at the night’s edge.

Molly Holden

Week 646: Mountain Lion, by D.H.Lawrence

I have never much taken to D.H.Lawrence as a novelist. The problem I have is with his characters, a rather intense lot who are like nobody I have ever known or would wish to know. Of course, from one point of view it is absurd to judge works of literature by how sympathetic you find the protagonists. ‘Yes, William, it’s very good, but this couple of yours, the Macbeths was it?, well, they’re not very nice, are they?’ And yet, for those of us who read for pleasure with no academic axe to grind, is it so unreasonable to prefer to spend our leisure time in the company of Elizabeth Bennet rather than Heathcliff, of Dorothea Brooke rather than Becky Sharp, of Anna Karenina rather than Raskolnikov?

But while D.H.Lawrence as novelist may not be my cup of tea, I find him as poet sometimes excellent, as travel writer and observer of nature sometimes superb. This week’s poem is from the collection ‘Birds, Beast and Flowers’, and is surely prescient in its sorrow for the diminishing otherness of the world.

Mountain Lion

Climbing through the January snow, into the Lobo canyon
Dark grow the spruce-trees, blue is the balsam, water sounds still unfrozen, and the trail is still evident.

Men!
Two men!
Men! The only animal in the world to fear!

They hesitate.
We hesitate.
They have a gun.
We have no gun.

Then we all advance, to meet.

Two Mexicans, strangers, emerging out of the dark and snow and inwardness of the Lobo valley.
What are they doing here on this vanishing trail?

What is he carrying?
Something yellow.
A deer?

Qué tiene, amigo?
León—

He smiles, foolishly, as if he were caught doing wrong.
And we smile, foolishly, as if we didn’t know.
He is quite gentle and dark-faced.

It is a mountain lion,
A long, long slim cat, yellow like a lioness.
Dead.

He trapped her this morning, he says, smiling foolishly.

Lift up her face,
Her round, bright face, bright as frost.
Her round, fine-fashioned head, with two dead ears;
And stripes in the brilliant frost of her face, sharp, fine dark rays,
Dark, keen, fine rays in the brilliant frost of her face.
Beautiful dead eyes.

Hermoso es

They go out towards the open;
We go on into the gloom of Lobo.
And above the trees I found her lair,
A hole in the blood-orange brilliant rocks that stick up, a little cave.
And bones, and twigs, and a perilous ascent.

So, she will never leap up that way again, with the yellow flash of a mountain lion’s long shoot!
And her bright striped frost face will never watch any more, out of the shadow of the cave in the blood-orange rock,
Above the trees of the Lobo dark valley-mouth!

Instead, I look out.
And out to the dim of the desert, like a dream, never real;
To the snow of the Sangre de Cristo mountains, the ice of the mountains of Picoris,
And near across at the opposite steep of snow, green trees motionless standing in snow, like a Christmas toy.

And I think in this empty world there was room for me and a mountain lion
And I think in the world beyond, how easily we might spare a million or two of humans
And never miss them.
Yet what a gap in the world, the missing white frost face of that slim yellow mountain lion!

D.H.Lawrence

Week 645: The New House, by Edward Thomas

I find this a very sad poem, while recognising that for the most part sad writes deeper than happy. One’s home should be a place of sanctuary,  and moving into a new house, at least when one is young, should be a time of excitement and new beginnings, not of bleak forebodings as here. But of course for Edward Thomas, who spent most of his adult life as a poorly rewarded reviewer and hack writer, his home was also his place of work, and thus bound up with his feelings of dissatisfaction, of spending his spirit on uncongenial tasks he knew to be unworthy of him – a common enough situation for most of us but one especially lacerating for the sensitive man who came so late to the discovery of his true gift and had so little time to enjoy it.

The sentiment of the last two lines seems ambiguous. Is Thomas finding some dour consolation in the thought that his troubles are transient and will end with nothing having changed, while the timeless elementals of the earth continue on their uncaring way? Or does the thought of this future wind merely intensify his desolation, his sense of time lost or ill-spent, but either way never to be recaptured?

The New House

Now first, as I shut the door,
    I was alone
In the new house; and the wind
    Began to moan.

Old at once was the house,
    And I was old;
My ears were teased with the dread
    Of what was foretold,

Nights of storm, days of mist, without end;
    Sad days when the sun
Shone in vain: old griefs and griefs
    Not yet begun.

All was foretold me; naught
    Could I foresee;
But I learned how the wind would sound
    After these things should be.

Edward Thomas

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