Week 77: From ‘Exequy on his Wife’, by Henry King

Something rather odd happens three quarters of the way through Henry King’s poem ‘Exequy on his Wife’. It starts off with the usual working out of elaborate conceits that is the bane of so much metaphysical poetry – King was a contemporary and friend of John Donne – and then suddenly he seems to forget all about being a clever poet and simply speaks from the heart as a real husband full of grief and desire for a beloved spouse. It doesn’t last – we are soon back in a contrivance of tides and compasses and vanguards – but those few lines of art without artifice that have come down to us across the centuries are as powerful an elegy for conjugal love as any I know.

Sleep on, my Love, in thy cold bed
Never to be disquieted!
My last good-night! Thou wilt not wake
Till I thy fate shall overtake:
Till age, or grief, or sickness must
Marry my body to that dust
It so much loves; and fill the room
My heart keeps empty in thy tomb.
Stay for me there: I will not fail
To meet thee in that hollow vale.
And think not much of my delay:
I am already on the way,
And follow thee with all the speed
Desire can make, or sorrows breed.

Week 75: From ‘A Welsh Childhood’ by Alice Thomas Ellis

Occasionally one comes across a piece of writing so raw and private that to reproduce it seems a kind of trespass, yet one must assume that by publishing it the author wished it to be shared. Such I deem to be the case with this extract from ‘A Welsh Childhood’ by Alice Thomas Ellis, the pen name of Anna Haycraft, concerning the death of her son Joshua, killed in his teens by a fall.

We were living here when our second son, Joshua, died, and his death formed a hinge in existence. Everything that had happened before led up to it, and everything that has happened since is only afterwards. He lies in the graveyard across the fields and one day I shall lie beside him and it won’t matter any more. I do not know how people contain such pain. His father wrote this epitaph for him:

Joshua Haycraft
who died 21 May 1978
aged nineteen years
after a fall

IOSVE
CVI.PRAECIPITI.DECIDENTI
NON.STETIT.SOL
SED.PRAECEPS.OCCIDIT
SOLIBUS.REDEVTIBVS
IPSE.REDITVRVS
IN.NOMINE.IESV
NOMINE.TVO
CARISSIME.DULCISSIME.
RESVRGES

Joshua
for whom the sun
did not stand still
but as you fell headlong
so set for you,
as suns return
you too, most sweet beloved
will return
and in the name of him
whose name is yours
rise again.

Alice Thomas Ellis

Week 74: In My Craft or Sullen Art, by Dylan Thomas

I have to confess that the poetry of Dylan Thomas is for the most part not to my taste, its art too artful, its verbal richness cloyingly contrived. But the case is not a simple one: here and there a genuinely inspired phrase will flash out, and in this wistful, tender lyric, for example, I think we see the poet he had it in him to be.

In My Craft or Sullen Art

In my craft or sullen art
Exercised in the still night
When only the moon rages
And the lovers lie abed
With all their griefs in their arms,
I labor by singing light
Not for ambition or bread
Or the strut and trade of charms
On the ivory stages
But for the common wages
Of their most secret heart.

Not for the proud man apart
From the raging moon I write
On these spindrift pages
Nor for the towering dead
With their nightingales and psalms
But for the lovers, their arms
Round the griefs of the ages,
Who pay no praise or wages
Nor heed my craft or art.

Dylan Thomas

Week 73: Far in a western brookland, by A.E.Housman

At seventeen, away from home for the first time, I walked by a river at night reciting this poem to myself. I don’t know why lines of such profound desolation, such hiraeth, should have been a comfort to me, but they were. 

Far in a western brookland
That bred me long ago
The poplars stand and tremble
By pools I used to know.

There, in the windless night-time,
The wanderer, marvelling why,
Halts on the bridge to hearken
How soft the poplars sigh.

He hears: no more remembered
In fields where I was known,
Here I lie down in London
And turn to rest alone.

There, by the starlit fences,
The wanderer halts and hears
My soul that lingers sighing
About the glimmering weirs.

A.E.Housman

Week 72: Emer’s Lament for Cuchulain, translated by Lady Gregory

One of the more valued though probably not valuable items on my shelves is a rather battered copy of Lady Gregory’s retelling of the Irish Ulster cycle, ‘Cuchulain of Muirthemne’, that I picked up long ago in a second-hand bookshop. W.B.Yeats called this ‘the best book that has ever come out of Ireland’. This would be a little worrying if true: they are great stories, but the Celtic love of repetition, ornamentation and exaggeration can grow tiresome, and to pass from the wild flights of Irish legend to the sober chronicling of the great Icelandic sagas is to go from the childlike to the adult. Be that as it may, the cadences of Lady Gregory’s prose do have a hypnotic and often moving quality, as here in Emer’s lament over the dead Cuchulain, even if one may feel in the end that its rhetoric compares unfavourably with the terse words of Bergthora choosing to die with her husband in the burning house: ‘I was given young in marriage to Njal, and I made him my promise that we should share the same end’.

‘And oh! my love’, she said, ‘we were often in one another’s company, and it was happy for us; for if the world had been searched from the rising of the sun to sunset the like would never have been found in one place, of the Black Sainglain and the Grey of Macha, and Laeg the chariot-driver, and myself and Cuchulain’….. And after that Emer bade Conall to make a wide, very deep grave for Cuchulain; and she laid herself down beside her gentle comrade, and she put her mouth to his mouth and said: ‘Love of my life, my friend, my sweetheart, many is the woman, wed or unwed, envied me till today: and now I will not stay living after you’.

Week 71: Illness, by Molly Holden

I thought this one might make an interesting comparison with last week’s poem on the theme of illness by Heinrich Heine. A very different sensibility is at work here, one that takes its bearings from the natural rather than the social world, and that seems to me fully to justify that overworked epithet ‘exquisite’.

Illness

Poetic justice is imperfectly exemplified in me
who, as a child, as a girl, was persuaded that
I felt as earth feels, the furrows in my flesh,

buttercups curdling from my shoulder blades,
was what I saw. The rain would fall as pertinent on me
as on the lichens on the flint-embedded wall.

I had always a skin too few, identified
with sun-hot blossom on the far side of the road,
felt beneath my own warm envelope of flesh

the foreign winter that calcined the delicate
bones of the organ-grinder’s shuddering monkey.
A ploughed field poniarded my chest.

So now it seems a wry desert that youthful
ecstasies, my earthly husks of joy,
should be so turned about by this disease

that feels like mist upon my fingers, like
a cold wind for ever against my body, and
air and chill earth eternally about my bones.

Molly Holden

Week 70: ‘Der Scheidende’ and ‘Morphine’, by Heinrich Heine

The German poet Heinrich Heine fell ill in 1848, with what was eventually diagnosed as chronic lead poisoning, and spent the last eight years of his life confined to what he called his ‘mattress grave’ (Matratzengruft), from where he wrote a series of poems chronicling his situation with a lacerating blend of candour and irony. Here are two of them. The translations that follow are my own.

Der Scheidende

Erstorben ist in meiner Brust
Jedwede weltlich eitle Lust,
Schier is mir auch erstorben drin
Der Hass des Schlechten, sogar der Sinn
Für eigne wie für fremde Not –
Und in mir lebt noch nur der Tod!

Der Vorhang fällt, das Stück ist aus,
Und gähnend wandelt jetzt nach Haus
Mein liebes deutsches Publikum,
Die guten Leutchen sind nicht dumm;
Das speist jetzt ganz vergnügt zu Nacht,
Und trinkt sein Schõppchen, singt und lacht –
Er hatte recht, der edle Heros,
Der weiland sprach im Buch Homeros’:
Der kleinste lebendige Philister
Zu Stukkert am Neckar, viel glücklicher ist er
Als ich, der Pelide, der tote Held,
Der Schattenfürst in der Unterwelt.

Departure

Now in my breast has died the fire
Of every earthly vain desire,
My hate for wrong has vanished clean,
Likewise as if it had not been
Care for my own and others’ ill.
Now only death lives in me still.

The curtain falls, the play is done,
And my dear German public’s gone
Yawning on their way back home.
Those little folk are not so dumb:
They’ll eat, drink, laugh and sing tonight,
And take full pleasure. He was right,
That noble hero, he who said
In Homer’s book, as I once read,
The meanest Philistine alive
In Stuttgart town may better thrive
Than I, Achilles, in this bed,
A prince of shades among the dead.

Morphine

Gross ist die Ähnlichkeit der beiden schönen
Jünglingsgestalten, ob der eine gleich
Viel blässer als der andre, auch viel strenger,
Fast möchte ich sagen viel vornehmer aussieht
Als jener andre, welcher mich vertraulich
In seine Arme schloss – Wie lieblich sanft
War dann sein Lächeln, und sein Blick wie selig!
Dann mocht es wohl geschehn, dass seines Hauptes
Mohnblumenkranz auch meine Stirn berührte
Und seltsam duftend allen Schmerz verscheuchte
Aus meiner Seel – Doch solche Linderung,
Sie dauert kurze Zeit; genesen gänzlich
Kann ich nur dann, wenn seine Fackel senkt
Der andre Bruder, der so ernst und bleich. –
Gut ist der Schlaf, der Tod ist besser – freilich
Das beste wäre, nie geboren sein.

How alike they are, two beautiful
Forms of young men, though at the same time one
Much paler than the other, more severe,
I might even say, much more distinguished-looking
Than this, the other, who took me in his arms
So trustingly. How soft his smile, how loving
That gaze of his. Almost one might say
That poppy-wreath he wears around his head
Touched my own temples too, and drove out pain
With that strange scent it brings. But such relief
Lasts little time: now I can be quite well
Only when the other dips his torch,
The older brother, serious and pale.
Sleep is good, death better, but indeed
The best of all, never to have been born.

Week 69: Cha Till Maccruimein, by Ewart Alan Mackintosh

With much commemoration of the outbreak of the First World War in the air, I thought it would be timely to remember one of its lesser-known poets, the Scotsman Ewart Alan Mackintosh, killed at the battle of Cambrai in 1917. I think this poem, by its historical telescoping, gives the martial pride of those days its due while undercutting it with a sense of grim foreboding.

Cha Till Maccruimein
(Departure of the 4th Camerons)

The pipes in the streets were playing bravely,
The marching lads went by
With merry hearts and voices singing
My friends marched out to die;
But I was hearing a lonely pibroch
Out of an older war,
‘Farewell, farewell, farewell, MacCrimmon,
MacCrimmon comes no more.’

And every lad in his heart was dreaming
Of honour and wealth to come,
And honour and noble pride were calling
To the tune of the pipes and drum;
But I was hearing a woman singing
On dark Dunvegan shore,
‘In battle or peace, with wealth or honour,
MacCrimmon comes no more.’

And there in front of the men were marching
With feet that made no mark,
The grey old ghosts of the ancient fighters
Come back again from the dark;
And in front of them all MacCrimmon piping
A weary tune and sore,
‘On gathering day, for ever and ever,
MacCrimmon comes no more.’

Ewart Alan Mackintosh (1893-1917)

Week 68: The Ballad of William Sycamore, 1790-1871, by Stephen Vincent Benét

A romantic view of the Old West, that I liked for its free spirit when I first met it in a school anthology, and still retain an affection for despite the many revisionist texts that have come between. I am not sure that the poem’s chronology bears too close a scrutiny: if William Sycamore died in 1871 how did he get a letter about his youngest son’s death at the Little Bighorn in 1876? Ah well, call it poetic licence…

The Ballad of William Sycamore, 1790-1871

My father, he was a mountaineer,
His fist was a knotty hammer;
He was quick on his feet as a running deer,
And he spoke with a Yankee stammer.

My mother, she was merry and brave,
And so she came to her labor,
With a tall green fir for her doctor grave
And a stream for her comforting neighbor.

And some are wrapped in the linen fine,
And some like a godling’s scion;
But I was cradled on twigs of pine
And the skin of a mountain lion.

And some remember a white, starched lap
And a ewer with silver handles;
But I remember a coonskin cap
And the smell of bayberry candles.

The cabin logs, with the bark still rough,
And my mother who laughed at trifles,
And the tall, lank visitors, brown as snuff,
With their long, straight squirrel-rifles.

I can hear them dance, like a foggy song,
Through the deepest one of my slumbers,
The fiddle squeaking the boots along
And my father calling the numbers.

The quick feet shaking the puncheon-floor,
And the fiddle squealing and squealing,
Till the dried herbs rattled above the door
And the dust went up to the ceiling.

There are children lucky from dawn till dusk,
But never a child so lucky!
For I cut my teeth on “Money Musk”
In the Bloody Ground of Kentucky!

When I grew tall as the Indian corn,
My father had little to lend me,
But he gave me his great, old powder-horn
And his woodsman’s skill to befriend me.

With a leather shirt to cover my back,
And a redskin nose to unravel
Each forest sign, I carried my pack
As far as a scout could travel.

Till I lost my boyhood and found my wife,
A girl like a Salem clipper!
A woman straight as a hunting-knife
With as eyes as bright as the Dipper!

We cleared our camp where the buffalo feed,
Unheard-of streams were our flagons;
And I sowed my sons like the apple-seed
On the trail of the Western wagons.

They were right, tight boys, never sulky or slow,
A fruitful, a goodly muster.
The eldest died at the Alamo.
The youngest fell with Custer.

The letter that told it burned my hand.
Yet we smiled and said, “So be it!”
But I could not live when they fenced the land,
For it broke my heart to see it.

I saddled a red, unbroken colt
And rode him into the day there;
And he threw me down like a thunderbolt
And rolled on me as I lay there.

The hunter’s whistle hummed in my ear
As the city-men tried to move me,
And I died in my boots like a pioneer
With the whole wide sky above me.

Now I lie in the heart of the fat, black soil,
Like the seed of a prairie-thistle;
It has washed my bones with honey and oil
And picked them clean as a whistle.

And my youth returns, like the rains of Spring,
And my sons, like the wild-geese flying;
And I lie and hear the meadow-lark sing
And have much content in my dying.

Go play with the towns you have built of blocks,
The towns where you would have bound me!
I sleep in my earth like a tired fox,
And my buffalo have found me.

Stephen Vincent Benet

Week 67: Pietà, by James McAuley

A poem by the Australian poet James McAuley, 1917-1976, speaking with a sad clarity for those who never got a chance at life.

Pietà

A year ago you came
Early into the light,
You lived a day and night
Then died; no-one to blame.

Once only, with one hand
Your mother in farewell
Touched you. I cannot tell,
I cannot understand

A thing so dark and deep,
So physical a loss:
One touch, and that was all

She had of you to keep.
Clean wounds, but terrible,
Are those made with the Cross.

James McAuley