Week 87: Good, by R.S.Thomas

Time for another of my favourite R.S.Thomas poems: here is a poet who no longer has to strain for any kind of ornamentation, achieving his effects by apparently plain statement coupled with a mastery of cadence.

Good

The old man comes out on the hill
and looks down to recall earlier days
in the valley. He sees the stream shine,
the church stand, hears the litter of
children’s voices. A chill in the flesh
tells him that death is not far off
now: it is the shadow under the great boughs
of life. His garden has herbs growing.
The kestrel goes by with fresh prey
in its claws. The wind scatters the scent
of wild beans. The tractor operates
on the earth’s body. His grandson is there
ploughing; his young wife fetches him
cakes and tea and a dark smile. It is well.

R.S.Thomas

Week 86: Threshing Morning, by Patrick Kavanagh

Another of my favourite Patrick Kavanagh poems, that combines his sensuous delight in the physical world with a vision of some secret, immortal country parallel to it that haunts the Irish mind.

May I just mention that a selection of sixty of my own poems is now available from the Amazon Kindle store; see News page for more details. 

Threshing Morning

On an apple-ripe September morning
Through the mist-chill fields I went
With a pitchfork on my shoulder
Less for use than for devilment.

The threshing mill was set-up, I knew,
In Cassidy’s haggard last night,
And we owed them a day at the threshing
Since last year. O it was delight

To be paying bills of laughter
And chaffy gossip in kind
With work thrown in to ballast
The fantasy-soaring mind.

As I crossed the wooden bridge I wondered
As I looked into the drain
If ever a summer morning should find me
Shovelling up eels again.

And I thought of the wasps’ nest in the bank
And how I got chased one day
Leaving the drag and the scraw-knife behind,
How I covered my face with hay.

The wet leaves of the cocksfoot
Polished my boots as I
Went round by the glistening bog-holes
Lost in unthinking joy.

I’ll be carrying bags today, I mused,
The best job at the mill
With plenty of time to talk of our loves
As we wait for the bags to fill…

Maybe Mary might call round…
And then I came to the haggard gate,
And I knew as I entered that I had come
Through fields that were part of no earthly estate.

Patrick Kavanagh

Week 85: In Morte Del Fratello Giovanni, by Ugo Foscolo

The Italian romantic poet Ugo Foscolo (1778-1827) spent the last eleven years of his life in a voluntary exile in England, where he was initially lionised but fell out of favour and died at Turnham Green after a spell in debtor’s prison. This poem clearly owes much to Catullus’s famous elegy ‘Multas per gentes et multa per aequora vectus’, but Foscolo adds a measure of Italian pathos to Roman gravity: Catullus, for example, makes no mention of his mother.

The translation that follows, which makes no attempt to imitate Foscolo’s rich rhyme scheme, is my own.

In Morte Del Fratello Giovanni

Un dí, s’io non andrò sempre fuggendo
Di gente in gente, me vedrai seduto
Su la tua pietra, o fratel mio, gemendo
Il fior de’ tuoi gentili anni caduto.

La madre or sol, suo dí tardo traendo,
Parla di me col tuo cenere muto,
Ma io deluse a voi le palme tendo;
E se da lunge i miei tetti saluto.

Sento gli avversi Numi, e le secrete
Cure che al viver tuo furon tempesta,
E prego anch’io nel tuo porto quïete.

Questo di tanta speme oggi mi resta!
Straniere genti, almen le ossa rendete
Allora al petto della madre mesta.

On The Death of His Brother Giovanni

One day, brother, when I’m done with this
Wandering from tribe to tribe, you’ll find me
Seated by your stone at last, lamenting
The fallen flower of your gentle years.

Our mother, left alone now, drawing out
Her late days, speaks of me to your mute ashes,
While I reach out vain hands to both of you
Greeting my homeland from afar, and yet

I feel the adverse Fates, the secret cares
That were a tempest to you while you lived,
And I would share with you your quiet haven.

That much of so much hope is left to me!
Strangers, when that day comes, give my bones
Back to the bosom of my grieving mother.

Week 84: Now I tell what I knew in Texas, by Walt Whitman

This extract from Walt Whitman’s ‘Song of Myself’ is surely one of the great set pieces dealing with ‘war and the pity of war’. It seems to be a substantially accurate account of the massacre of Texians that was carried out by the Mexican army at Goliad in 1836, acting under the order of President Santa Anna, except that modern sources put the number killed at three hundred and three rather than four hundred and twelve. I think this is Whitman at his best, with none of that swaggering loquacity G.K.Chesterton affectionately parodies in his Whitmanesque verison of ‘Old King Cole’ (‘I salute your three violinists, endlessly making vibrations/Rigid, relentless, capable of going on forever….’)

Now I tell what I knew in Texas

Now I tell what I knew in Texas in my early youth,
(I tell not the fall of Alamo,
Not one escaped to tell the fall of Alamo,
The hundred and fifty are dumb yet at Alamo,)
‘Tis the tale of the murder in cold blood of four hundred and twelve young men.

Retreating they had form’d in a hollow square with their baggage for breastworks,
Nine hundred lives out of the surrounding enemy’s, nine times their number, was the price they took in advance,
Their colonel was wounded and their ammunition gone,
They treated for an honorable capitulation, receiv’d writing and seal, gave up their arms and march’d back prisoners of war.

They were the glory of the race of rangers,
Matchless with horse, rifle, song, supper, courtship,
Large, turbulent, generous, handsome, proud, and affectionate,
Bearded, sunburnt, drest in the free costume of hunters,
Not a single one over thirty years of age.

The second First-day morning they were brought out in squads and massacred, it was beautiful early summer,
The work commenced about five o’clock and was over by eight.

None obey’d the command to kneel,
Some made a mad and helpless rush, some stood stark and straight,
A few fell at once, shot in the temple or heart, the living and dead lay together,
The maim’d and mangled dug in the dirt, the new-comers saw them there,
Some half-kill’d attempted to crawl away,
These were despatch’d with bayonets or batter’d with the blunts of muskets,
A youth not seventeen years old seiz’d his assassin till two more came to release him,
The three were all torn and cover’d with the boy’s blood.

At eleven o’clock began the burning of the bodies;
That is the tale of the murder of the four hundred and twelve young men.

Walt Whitman

Week 83: The Fired Pot, by Anna Wickham

Marital fidelity, while admirable in real life, does not seem to get much of a write-up in art, and I suppose it has to be admitted that the Western canon would not be quite the same if Helen had been less accommodating to Paris, if Lancelot had been content to worship Guinevere from afar, if Paolo and Francesca had stuck to reading the book, and if Anna Karenina had told Vronsky to get lost. Still, moral restraint has at least given us ‘Brief Encounter’, and also this wry poem by Anna Wickham (1884-1947).

The Fired Pot

In our town, people live in rows.
The only irregular thing in a street is the steeple;
And where that points to, God only knows,
And not the poor disciplined people!

And I have watched the women growing old,
Passionate about pins, and pence, and soap,
Till the heart within my wedded breast grew cold,
And I lost hope.

But a young soldier came to our town,
He spoke his mind most candidly.
He asked me quickly to lie down,
And that was very good for me.

For though I gave him no embrace —
Remembering my duty —
He altered the expression of my face,
And gave me back my beauty.

Anna Wickham

Week 82: The Soul selects, by Emily Dickinson

Emily Dickinson, as this poem testifies, was a proud spirit in a humble situation. Nothing new in that, of course: there’s many a maker who has passed unnoticed during life, or received no more than a few crumbs of recognition from those who cut the literary cake. Those who do not belong must create their own belonging – in a way that’s much of what being a poet is about – and this Emily most powerfully did. I admire this poem’s uncompromising rejection of populism, its insistence on the essential privacy of the poetic act and the incorruptibility of its individual truth. Of course, to trust the soul’s selection while keeping the valves of one’s attention not entirely petrified would be an even better trick.

Am I alone, though, in finding Emily’s eccentric punctuation – the proliferation of dashes, the arbitrary capitalisations – something of an irritation? But I suppose one has to respect the right of a poet to create a poem’s shape on the page, even though in the end what matters is a poem’s shape in the mind, so I have preserved her own typography.

The Soul selects

The Soul selects her own Society —
Then — shuts the Door —
To her divine Majority —
Present no more —

Unmoved — she notes the Chariots — pausing —
At her low Gate —
Unmoved —an Emperor be kneeling
Upon her mat —

I’ve known her —from an ample nation —
Choose One —
Then—close the Valves of her attention —
Like Stone — 

Emily Dickinson

Week 81: The Broken Girth, by Robert Graves

My birthday this week, and to adapt Housman slightly, now of my threescore years and ten, seventy will not come again. I’ve done the math and it doesn’t look good, nor am I entirely convinced by reassurances that seventy is the new twenty. So I thought I’d mark the occasion with one of my favourite poems by Robert Graves, which begins to take on a very personal note.

In case anyone is unfamiliar with the legend, Oisin was the son of the Irish hero Finn mac Cumhaill, leader of the Fianna. He was lured away to Tír na nÓg, the Land of the Young, by the beautiful Niamh, daughter of its king, but eventually wanted to see his own land and people again: he was given leave to do this, but warned he must on no account get down from his horse. But time passes differently in that country, and he returned to find a diminished Ireland and all the Fianna long dead.

The Broken Girth

Bravely from Fairyland he rode, on furlough,
Astride a tall bay given him by the Queen
From whose couch he had leaped not a half-hour since,
Whose lilies-of-the-valley shone from his helm.

But alas, as he paused to assist five Ulstermen
Sweating to raise a recumbent Ogham pillar,
Breach of a saddle-girth tumbled Oisin
To common Irish earth. And at once, it is said,
Old age came on him with grief and frailty.

St Patrick asked: would he not confess the Christ? –
Which for that Lady’s sake he loathed to do,
But northward loyally turned his eyes in death.
It was Fenians bore the unshriven corpse away
For burial, keening.

Curse me all squint-eyed monks
Who misconstrue the passing of Finn’s son:
Old age, not Fairyland, was his delusion.

Robert Graves

Week 80: Rain – Birdoswald, by Frances Horovitz

Frances Horovitz died young, and left us poems crafted with a painterly precision and full of a bittersweet ache of mortality. This is one of my favourites. Birdoswald is a fort on Hadrian’s Wall.

Rain – Birdoswald

I stand under a leafless tree
more still, in this mouse-pattering
thrum of rain,
than cattle shifting in the field.
It is more dark than light.
A Chinese painter’s brush of deepening grey
moves in a subtle tide.

The beasts are darker islands now.
Wet-stained and silvered by the rain
they suffer night,
marooned as still as stone or tree.
We sense each other’s quiet.

Almost, death could come
inevitable, unstrange
as is this dusk and rain,
and I should be no more
myself, than raindrops
glimmering in last light
on black ash buds

or night beasts in a winter field.

Frances Horovitz

Week 79: From ‘Troilus and Cressida’, by William Shakespeare

I believe that others before me may have noted that a certain gentleman from Stratford was a pretty good poet, so I hardly need to add my own halfpennyworth except to comment on how, even in the lesser known plays, that infinitely flexible speaking voice of his can take on a quality of haunting immediacy. I love how Cressida’s magnificently over-the-top protestations are undercut by the proleptic irony of her faithlessness to be: was anyone ever better at doing the grand rhetorical style while at the same time subtly undermining it?

Cressida: If I be false, or swerve a hair from truth,
When time is old and hath forgot itself,
When waterdrops have worn the stones of Troy,
And blind oblivion swallow’d cities up,
And mighty states characterless are grated
To dusty nothing – yet let memory
From false to false, among false maids in love,
Upbraid my falsehood: when th’ have said ‘As false
As air, as water, wind, or sandy earth,
As fox to lamb, or wolf to heifer’s calf,
Pard to the hind, or stepdame to her son’
– Yea, let them say, to stick the heart of falsehood,
‘As false as Cressid.’

Week 78: Vento sulla mezzaluna, by Eugenio Montale

I find the Italian writer Eugenio Montale one of the most interesting voices of the last century, a poet who moves easily between the physical world and the world of the mind, making a gnarly, intellectual music. Here is one of his love poems, set in Edinburgh: the bridge in question is the Forth Bridge. I like how it conveys a mind struggling to retain its grip on the reality of love though separated and on alien ground. The translation that follows is my own.

Vento sulla mezzaluna   

Il grande ponte non portava a te.
T’avrei raggiunta anche navigando
nelle chiaviche, a un tuo comando. Ma
già le forze, col sole sui cristalli
delle verande, andavano stremandosi.

L’uomo che predicava sul Crescente
mi chiese «Sai dov’è Dio?». Lo sapevo
e glielo dissi. Scosse il capo. Sparve
nel turbine che prese uomini e case
e li sollevò in alto, sulla pece.

Wind on the Crescent

The great bridge did not lead to you.
I would have come to you although the way
Led me through the sewers, had you asked.
But already my powers, like the declining sun
Reflected in the windows, were ebbing away.

The man who was preaching on the Crescent
Asked me ‘Do you know where God is?’ I did
And told him. But he shook his head, disappearing
In a blast of wind that caught up men and houses
And whirled them aloft, under the pitch-dark sky.