Week 420: Photograph of Haymaker, 1890, by Molly Holden

I realise that I have already featured several poems by the excellent Molly Holden over the years, but as Auden says, when poets die they become their admirers, and it is then up to those admirers to do what they can to keep the memory alive of those they have shaken hands with in their hearts. This, then, was the opening poem of Molly’s fine first collection, ‘To Make Me Grieve’, published in 1968, characteristically combining her elegiac feeling for the passage of time with an acutely sensuous perception of the natural world.

Photograph of Haymaker, 1890

It is not so much the image of the man
that’s moving — he pausing from his work
to whet his scythe, trousers tied
below the knee, white shirt lit by
another summer’s sun, another century’s —

as the sight of the grasses beyond
his last laid swathe, so living yet
upon the moment previous to death;
for as the man stooping straightened up
and bent again they died before his blade.

Sweet hay and gone some seventy years ago
and yet they stand before me in the sun,
stems damp still where their neighbours’ fall
uncovered them, succulent and straight,
immediate with moon-daisies.

Molly Holden

Week 419: From ‘The Pilgrim’s Progress’, by John Bunyan

Back in the early fifties, when I was at primary school, our headmistress, who was pretty old, at least thirty, used to take the top class once a week for a special lesson known as Literature. This was proper stuff too, Shakespeare, Wordsworth, Keats, Dickens, all from the original texts, not the kind of pap the kids get served nowadays, and one of the things I remember her reading was long extracts from John Bunyan’s ‘Pilgrim’s Progress’. Now there was an awful lot of religion in schools back then, and generally I didn’t much take to it: even then I had a dimly formulated preference for objective language, for words that were alive with meaning in their own right rather than words that required some complicity of belief on the reader’s part to animate them. Yet it couldn’t be denied that some religious texts had considerable power whether or not you were a believer, and I remember being much moved by this account of the death of Mr Valiant-for-truth.

‘After this it was noised abroad that Mr. Valiant-for-truth was taken with a summons, by the same post as the other; and had this for a token that the summons was true, “That his pitcher was broken at the fountain.” When he understood it, he called for his friends, and told them of it. Then, said he, I am going to my Father’s; and though with great difficulty I have got hither, yet now I do not repent me of all the trouble I have been at to arrive where I am. My sword I give to him that shall succeed me in my pilgrimage, and my courage and skill to him that can get it. My marks and scars I carry with me, to be a witness for me that I have fought His battles who will now be my rewarder. When the day that he must go hence was come, many accompanied him to the river-side, into which as he went, he said, “Death, where is thy sting?” And as he went down deeper, he said, “Grave, where is thy victory?” So he passed over, and all the trumpets sounded for him on the other side.’

Week 418: From ‘L’Enfant de la Haute Mer’, by Jules Supervielle

This is the concluding paragraph of a very strange, visionary short story by the French poet Jules Supervielle, about a sailor who one night, by the intensity of his longing to see his dead daughter again, conjures her into a kind of being, out on the ocean. The idea itself is not entirely original – in Tibetan Buddhism, for example, we find the concept of the tulpa, a being created by the exercise of spiritual or mental powers, capable of feeling and some autonomy of action. What is original is Supervielle’s imaginative empathy for such a creature. Generally I am not a great fan of literary work that can be characterised as fey, or, less kindly, as a bit daft, but I do find that there is something haunting about this particular story. Supervielle suffered for much of his life from poor health and a consequent fear of death – this was someone who speaks of holding his hand over a candle flame to reassure himself that he was still alive – so it may be that he projected some of his own state on to this creature poised between life and death, and it is this, along with the hypnotic cadences of its prose, that gives the story its power.

The translation that follows is my own.

‘Marins qui rêvez en haute mer, les coudes appuyés sur la lisse, craignez de penser longtemps dans le noir de la nuit à un visage aimé. Vous risqueriez de donner naissance, dans des lieux essentiellement désertiques, à un être doué de toute la sensibilité humaine et qui ne peut pas vivre ni mourir, ni aimer, et souffre pourtant comme s’il vivait, aimait et se trouvait toujours sur le point de mourir, un être infiniment déshérité dans les solitudes aquatiques, comme cette enfant de l’Océan, née un jour du cerveau de Charles Liévens, de Steenvoorde, matelot de pont du quatre-mâts Le Hardi, qui avait perdu sa fille âgée de douze ans, pendant un de ses voyages, et, une nuit, par 55 degrés de latitude Nord et 35 de longitude Ouest, pensa longuement à elle, avec une force terrible, pour le grand malheur de cette enfant’.

‘Sailors who dream out on the wide ocean, your elbows propped on the rail, beware of thinking too long in the dark of the night of a face beloved. You will risk giving birth, in these wholly desert places, to a being endowed with all human feeling that can neither live nor die, but suffers as if it lived, loved and found itself always on the point of death, a being infinitely disinherited in the watery solitudes, like this child of the Ocean, born one day from the brain of Charles Lievens, of Steenvorde, sailor on the bridge of the four-masted Le Hardi, who had during one of his voyages lost his daughter of twelve years old, and one night, at latitude 55 degrees north and longitude 35 degrees west, thought long of her, with a terrible strength, to this child’s great misfortune’.

Week 417: Advice to a Prophet, by Richard Wilbur

This poem was written when the dominant fear for mankind was the threat of nuclear war: that threat may have receded a little, in our consciousness if not necessarily in reality, but only to be replaced by the realisation that when it comes to inflicting irreparable harm on our natural environment, attrition in the end works just as well as Armageddon. It’s a fine poem, but the problem I have with it now is a feeling that this may be one occasion where Wilbur’s restraint, his cool elegance of diction, work against him: that the time for the courtly elegiac is past and what we need now are words of fire and rage.

Advice to a Prophet

When you come, as you soon must, to the streets of our city,
Mad-eyed from stating the obvious,
Not proclaiming our fall but begging us
In God’s name to have self-pity,

Spare us all word of the weapons, their force and range,
The long numbers that rocket the mind;
Our slow, unreckoning hearts will be left behind,
Unable to fear what is too strange.

Nor shall you scare us with talk of the death of the race.
How should we dream of this place without us?
The sun mere fire, the leaves untroubled about us,
A stone look on the stone’s face?

Speak of the world’s own change. Though we cannot conceive
Of an undreamt thing, we know to our cost
How the dreamt cloud crumbles, the vines are blackened by frost,
How the view alters. We could believe,

If you told us so, that the white-tailed deer will slip
Into perfect shade, grown perfectly shy,
The lark avoid the reaches of our eye,
The jack-pine lose its knuckled grip

On the cold ledge, and every torrent burn
As Xanthus once, its gliding trout
Stunned in a twinkling. What should we be without
The dolphin’s arc, the dove’s return,

These things in which we have seen ourselves and spoken?
Ask us, prophet, how we shall call
Our natures forth when that live tongue is all
Dispelled, that glass obscured or broken

In which we have said the rose of our love and the clean
Horse of our courage, in which beheld
The singing locust of the soul unshelled,
And all we mean or wish to mean.

Ask us, ask us whether with the worldless rose
Our hearts shall fail us; come demanding
Whether there shall be lofty or long standing
When the bronze annals of the oak-tree close.

Richard Wilbur

Week 381: The Road Not Taken, by Robert Frost

This is a famous and in my view somewhat misunderstood poem, the misunderstanding being entirely the fault of the poet. Robert Frost liked to put it about that this was a playful poem written to tease his friend Edward Thomas, who was, it seems, given to reflecting ruefully on the choice of path after one of their country walks together and saying now if only they’d gone the other way… In particular the last line, Frost claimed, was an ironic joke at Thomas’s expense and not to be taken literally. Thomas did indeed take the tease seriously and was apparently quite perturbed by the poem, but to me all this was just Frost putting up a smokescreen: clearly the poem is about him and not Thomas, the road less taken is the path of poetry, and there is no reason not to take the last line at face value: our life choices do indeed make a difference. I’m afraid Frost liked to play these games, maybe from a wish to disguise the act of self-revelation, or from a fear of committing himself too deeply to his own truth, or just from a mischievous sense of fun. Which doesn’t make it any less of a fine poem.

The Road Not Taken

Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I –
I took the one less traveled by,
And that has made all the difference.

Robert Frost

Week 364: Tell me not here, it needs not saying, by A.E.Housman

I have always felt this week’s offering to be one of the most beautiful of English poems, at least as far as the first four verses go. I could do without the last verse, in which the elegy edges over into self-pity: if you really have to state the obvious about man’s relationship to ‘heartless, witless nature’ then I rather prefer the breezy acceptance of W.H.Auden’s lines: ‘Looking up at the stars I know quite well/That for all they care I can go to hell’. Well, quite. The universe is not about us. Which need not prevent us from finding it an immensely interesting place, and being grateful for the opportunity to observe it for a brief span. 

Tell me not here, it needs not saying

Tell me not here, it needs not saying,
What tune the enchantress plays
In aftermaths of soft September
Or under blanching mays,
For she and I were long acquainted
And I knew all her ways.

On russet floors, by waters idle,
The pine lets fall its cone;
The cuckoo shouts all day at nothing
In leafy dells alone;
And traveller’s joy beguiles in autumn
Hearts that have lost their own.

On acres of the seeded grasses
The changing burnish heaves;
Or marshalled under moons of harvest
Stand still all night the sheaves;
Or beeches strip in storms for winter
And stain the wind with leaves.

Possess, as I possessed a season,
The countries I resign,
Where over elmy plains the highway
Would mount the hills and shine,
And full of shade the pillared forest
Would murmur and be mine.

For nature, heartless, witless nature,
Will neither care nor know
What stranger’s feet may find the meadow
And trespass there and go,
Nor ask amid the dews of morning
If they are mine or no.

A.E.Housman

Week 92: An Die Entfernte, by Nikolaus Lenau

This lyric by the Austrian Romantic poet Nikolaus Lenau (1802-1850) was one of the first German poems I ever got by heart; it seemed to me to have the plangent sweetness of a folksong .

The translation that follows is my own.

An Die Entfernte

Diese Rose pflück ich hier,
In der fremden Ferne;
Liebes Mädchen, dir, ach dir
Brächt ich sie so gerne!

Doch bis ich zu dir mag ziehn
Viele weite Meilen,
Ist die Rose längst dahin,
Denn die Rosen eilen.

Nie soll weiter sich ins Land
Lieb von Liebe wagen,
Als sich blühend in der Hand
Lässt die Rose tragen,

Oder als die Nachtigall
Halme bringt zum Neste,
Oder als ihr süsser Schall
Wandert mit dem Weste.

To One Far Away

See the rose that I pluck here
In foreign land afar –
Oh, could I but bring it, dear,
To you, to where you are.

Yet, before we met, before
I crossed so wide a way,
Long the rose would be no more
For roses do not stay.

Nevermore must love from love
Adventure in the land
Further than a rose may live
Borne blooming in the hand,

Further than the nightingale
Can bring straws to the nest,
Further than its sweet song fill
The wind out of the west.

Week 76: Herbsttag, by Rainer Maria Rilke

Just before I went up to Cambridge for my entrance examinations in 1962, my headmaster took me to one side. He was aware of my admiration for the work of the German poet Rainer Maria Rilke, and equally aware of my devotion to Tolkien’s ‘Lord of the Rings’, ‘Just a word of advice’ he said. ‘Go with the Rilke. Don’t mention Tolkien!’. I was then as cheerfully ignorant of the OK-ness of writers in academic circles as I am now cheerfully indifferent to it, so I was a little puzzled, but it seemed only polite to talk to other people about things they too were interested in, so I duly obliged. And Rilke really is very good, though I prefer the sensuous, concrete shorter lyrics to the more philosophical ‘Duino Elegies’, just as I prefer Tolkien’s weather and landscapes to his theology (sorry, Cambridge, just had to slip that one in). Here’s one of my favourites. The translation that follows is my own.

Herbsttag

Herr, es ist Zeit. Der Sommer war sehr groß.
Leg deinen Schatten auf die Sonnenuhren,
und auf den Fluren laß die Winde los.

Befiehl den letzten Früchten voll zu sein;
gib ihnen noch zwei südliche Tage,
dränge sie zur Vollendung hin, und jage
die letzte Süße in den schweren Wein.

Wer jetzt kein Haus hat, baut sich keines mehr.
Wer jetzt allein ist, wird es lange bleiben,
wird wachen, lesen, lange Briefe schreiben
und wird in den Alleen hin und her
unruhig wandern, wenn die Blätter treiben.

Autumn Day

Lord, it is time. The great summer is done.
Let loose the winds upon the meadows, let
Your shadows count the last hours of the sun.

Bid the late fruits to swell upon the vine,
Allow them two more days of southern heat,
Cram the last ripeness into them, complete
Their sweet fulfilment in full-bodied wine.

Who has no house now shall not make a home,
Again; who is alone now long shall be so,
Will sit up, read, will write long letters, go
Along the autumn avenues to roam
Restless, as the leaves drift, to and fro.