Week 290: To Norman Cameron 1905 – 1953, by James Reeves

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Elegies tend to be sad by definition, but this one by James Reeves seems sadder than most in that it interweaves a lament for a dead poet friend with a lament for the drying up of his own poetic gift. At one point I thought that the ‘he’ referred to in the fourth stanza might be Robert Graves, who was friend to both Reeves and Cameron but had by this time long left England for Majorca, but I am now persuaded that it is simply a continuing reference to the river-god, as symbolising Reeves’s source of inspiration.

To Norman Cameron 1905 – 1953

I asked the river-god a song
Wherewith to mourn your fallen head.
No answer: but a low wind crept
About the stones of his dry bed.

The fingers of insomnia
Turning the pages of self-hate
Are like the incurious wind that stirred
The papery reeds on that estate.

In other days I knew the god
Who flashed and chuckled in the sun.
Where has he taken now his moods
Of shadow and his sense of fun?

The requiem I might have had
From him you would have understood
Just as you also understood
How hard a thing it is, though good,

To hold your peace and wait your time
When there is nothing to be said.
I know it now: I knew you both,
But he is gone, and you are dead.

Even the wind has stopped; no sound
In this dull air is born to live;
So I my desperate silences
To you my friend and poet give.

James Reeves

Week 289: Spraying The Potatoes, by Patrick Kavanagh

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Another poem by the Irish poet Patrick Kavanagh whose work I delight in for its quirky originality and its wonderful inclusiveness.

Spraying The Potatoes

The barrels of blue potato-spray
Stood on a headland of July
Beside an orchard wall where roses
Were young girls hanging from the sky.

The flocks of green potato-stalks
Were blossom spread for sudden flight,
The Kerr’s Pinks in a frivelled blue,
The Arran Banners wearing white.

And over that potato-field
A hazy veil of woven sun.
Dandelions growing on headlands, showing
Their unloved hearts to everyone.

And I was there with the knapsack sprayer
On the barrel’s edge poised. A wasp was floating
Dead on a sunken briar leaf
Over a copper-poisoned ocean.

The axle-roll of a rut-locked cart
Broke the burnt stick of noon in two.
An old man came through a cornfield
Remembering his youth and some Ruth he knew.

He turned my way. ‘God further the work.’
He echoed an ancient farming prayer.
I thanked him. He eyed the potato-drills.
He said: ‘You are bound to have good ones there.’

We talked and our talk was a theme of kings,
A theme for strings. He hunkered down
In the shade of the orchard wall. O roses
The old man dies in the young girl’s frown.

And poet lost to potato-fields,
Remembering the lime and copper smell
Of the spraying barrels he is not lost
Or till blossomed stalks cannot weave a spell.

Patrick Kavanagh

Week 288: The Wife of Usher’s Well, by Anon

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One of the great Child ballads, Child 79, shot through with a pagan wildness and superstition coexisting uneasily with its veneer of Christianity. The old woman of the title is no meek acceptor of God’s will but a powerful witch, able to curse the elements themselves, that have taken her sons from her, and give them no rest till those sons are returned to her. And so they are, but not ‘in earthly flesh and blood’ as she had wished, but as revenants still bound, like the ghost of Hamlet’s father, to Purgatory, and all her efforts to feast them and give them rest are doomed: one night is all they are allowed.

What has always struck me about these grim, spare poems is how, give or take a few strange words and spellings, they remain so alive and immediate for us, often more so than much of the poetry of later centuries.

carline wife = old woman
fashes = troubles
flood = sea
birk = birch
syke = gully, trench
sheugh = ditch, furrow
daw = dawn
channerin = grumbling, chiding
gin = if

The Wife of Usher’s Well

There lived a wife at Usher’s well,
And a wealthy wife was she;
She had three stout and stalwart sons,
And sent them o’er the sea.

They hadna been a week from her,
A week but barely ane,
When word came to the carline wife
That her three sons were gane.

They hadna been a week from her,
A week but barely three,
When word came to the carline wife
That her sons she’d never see.

‘I wish the wind may never cease,
Nor fashes in the flood,
Till my three sons come hame to me,
In earthly flesh and blood!’

It fell about the Martinmas,
When nights are lang and mirk,
The carline wife’s three sons came hame,
And their hats were o’ the birk.

It neither grew in syke nor ditch,
Nor yet in ony sheugh;
But at the gates o’ Paradise
That birk grew fair eneugh.

‘Blow up the fire, my maidens!
Bring water from the well!
For a’ my house shall feast this night,
Since my three sons are well.’

And she has made to them a bed,
She’s made it large and wide;
And she’s ta’en her mantle her about,
Sat down at the bedside.

Up then crew the red, red cock,
And up and crew the gray;
The eldest to the youngest said.
‘’Tis time we were away.’

The cock he hadna craw’d but once,
And clapp’d his wings at a’,
When the youngest to the eldest said,
‘Brother, we must awa’.

‘The cock doth craw, the day doth daw,
The channerin’ worm doth chide;
Gin we be miss’d out o’ our place,
A sair pain we maun bide.’

‘Lie still, lie still but a little wee while,
Lie still but if we may;
Gin my mother should miss us when she wakes,
She’ll go mad ere it be day.’

‘Fare ye weel, my mother dear!
Fareweel to barn and byre!
And fare ye weel, the bonny lass
That kindles my mother’s fire!’

Anon

Week 287: Yn Yr Hwyr, by Bobi Jones

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The Welsh poet Robert Maynard Jones (1929-2017), usually known as Bobi Jones, was a major figure in twentieth century Welsh literature, extraordinarily prolific in many fields, including fiction and criticism as well as poetry. I believe even native Welsh speakers can find his work quite demanding, so perhaps understandably I like best those poems where he reins in a little his penchant for verbal fireworks and an accumulation of striking images, and lets the feeling come across more plainly, as in this memory of his father.

The (freeish) translation that follows is my own.

Yn Yr Hwyr

Yn yr hwyr wrth y tân mae fy nhad yn llifo’n ôl.
Rhai pethau a wnaethom gyda’n gilydd, a finnau’n aml
Yn angharedig. Rhithia yno ei gwrteis ystyried
A dwyn fy nghalon o fewn cysgod ei raeadr synd.

Pan chwyddodd y gofod mawr â’i fwlch ef
Ni wyddwn yr arhosai ynof er ei fynd mor derfynol
Ac y piciai i’m pen fel petai am ymestyn gartref
Yn yr hwyr wrth y tân a’i ddafnau’n gwlychu fy meddwl.

Y tu ôl i gefn y byd, yn yr hwyr wrth y tân
Crwydra ei gariad i lawr, wele mae’n dychwelyd
Cwymp drwy ’ngwythiennau i droi eu trydan
I oleuo ’nghof â’r dyddiau a fu mor hyfryd;
A ffrydiaf ynddo draw hyd hwyr rhyw ddiwrnod
Ar aelwyd ailgronni pawb, stôr pob anwylyd.

Bobi Jones

In The Evening

In the evening by the fire, my father comes back.
Certain things we did together: me
Often unkind. And again my heart finds shelter
In the shadow of his careful courtesy.

I did not know, when he added his own absence
To the great void, that he would still drop round
These evenings by the fire, stretch out his legs
As if at home, shake raindrops on my mind.

But when the world is not looking, his vagrant love
Returns to me, in the evening by the fire.
Coursing electric through my veins, it lights
The memory of fair days gone before,
As by the evening hearth our spirits join
Where love is stored, and all are gathered in.

Week 286: From ‘Spring Nature Notes’ by Ted Hughes

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I see this poem, with that wonderfully evocative last line about the brilliant silence, as relating properly to one of those first fine days in early March, but spring our way has been so late this year that it was not till last Saturday we had weather of the kind to bring this poem to mind. Now we are in the middle of a mini-heatwave and the countryside is going mad with bluebells and blossom, as if the whole dammed-up season has burst its banks and overflowed in one day.

From ‘Spring Nature Notes’

The sun lies mild and still on the yard stones.

The clue is a solitary daffodil – the first.

And the whole air struggling in soft excitements
Like a woman hurrying into her silks.
Birds everywhere zipping and unzipping
Changing their minds, in soft excitements,
Warming their voyage and trying their voices.

The trees still spindle bare.

Beyond them, from the warmed blue hills
An exhilaration swirls upward, like a huge fish.
As under the waterfall, in the bustling pool.

Over the whole land
Spring thunders down in brilliant silence.

Ted Hughes

Week 285: Flying Crooked, by Robert Graves

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One of those neat idiosyncratic lyrics, slipping so effortlessly into the memory, that Robert Graves excelled at.

Flying Crooked

The butterfly, a cabbage-white,
(His honest idiocy of flight)
Will never now, it is too late,
Master the art of flying straight,
Yet has – who knows so well as I? –
A just sense of how not to fly:
He lurches here and here by guess
And God and hope and hopelessness.
Even the aerobatic swift
Has not his flying-crooked gift.

Robert Graves

Week 284: Dychwelyd, by T.H. Parry-Williams

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T.H. Parry-Williams (1887-1975) was one of the major figures in a great flowering of Welsh poetry in the first half of the last century, and this is one of his best-known sonnets, a popular choice for recitation at Eisteddfods.

The translation that follows is my own.

Dychwelyd

Ni all terfysgoedd daear byth gyffroi
distawrwydd nef; ni sigla lleisiau’r llawr
rymuster y tangnefedd sydd yn toi
diddim diarcholl yr ehangder mawr;
ac ni all holl drybestod dyn a byd
darfu’r tawelwch nac amharu dim
ar dreigl a thro’r pellterau sydd o hyd
yn gwneuthur gosteg â’u chwyrnellu chwim.
Ac am nad ydyw’n byw ar hyd y daith,
o gri ein geni hyd ein holaf gŵyn,
yn ddim ond crych dros dro neu gysgod craith
ar lyfnder esmwyth y mudandod mwyn,
ni wnawn, wrth ffoi am byth o’n ffwdan ffôl,
ond llithro i’r llonyddwch mawr yn ôl.

T.H. Parry-Williams

Return

No earthly riot that we make can mar
The peace of heaven; there is no voice here
With power to match its tranquil might and jar
That endless perfect overarching sphere.
Not all our human tumult here below
Can break the seal of silence, nor surprise
Whatever moves the stars to come and go
Forever spiralling on soundless skies.
For all our life, from cradle to the grave,
From infant’s cry to our last agony,
Is but a shadow-wound, a passing wave
Which leaves no scar on that smooth silent sea,
As from this earthly fuss we find release
To meld once more with everlasting peace.

Week 283: The Owl, by Edward Thomas

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I guess we all have our poetic touchstones, poems that we measure other poems against, talismans against the tritely sentimental, the strained or strident, the artily pretentious. This week’s poem is one of my touchstones. Not a lot happens in it – a man comes to an inn after a long day’s walk, looking forward to rest and refreshment, and as he goes in hears an owl calling from the hill. Yet somehow, like a clearing sky at twilight, it opens up whole vistas of time and imagination. A lot turns on that ‘salted’ in the last stanza. No easy sentiment here – the poet is honest enough to admit that the thought of others less fortunate than himself adds relish to his situation. And yet, after all, what clinches the poem is the compassion of its last two lines.

The Owl

Downhill I came, hungry, and yet not starved;
Cold, yet had heat within me that was proof
Against the North wind; tired, yet so that rest
Had seemed the sweetest thing under a roof.

Then at the inn I had food, fire, and rest,
Knowing how hungry, cold, and tired was I.
All of the night was quite barred out except
An owl’s cry, a most melancholy cry

Shaken out long and clear upon the hill,
No merry note, nor cause of merriment,
But one telling me plain what I escaped
And others could not, that night, as in I went.

And salted was my food, and my repose,
Salted and sobered, too, by the bird’s voice
Speaking for all who lay under the stars,
Soldiers and poor, unable to rejoice.

Edward Thomas

Week 282: O Wha’s The Bride, by Hugh MacDiarmid

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At first sight, the idea behind this poem seems a bit daft. The poet imagines a bridegroom on his wedding night apparently about to be shocked by the realisation that his virgin bride is actually the product of a long process of genetic mingling. Well, unless he had thought up till then that the human race had survived throughout the millennia by parthenogenesis, it shouldn’t really have come as a surprise. Nor is it clear why he should view the process as malevolent and despoiling: it’s just the way things are, and after all his bride wouldn’t be there without these contributions from his predecessors. And yet, viewing the matter from another angle, perhaps MacDiarmid is right: just because things are the way they are doesn’t mean that there is not an intangible and disturbing mystery about them, and if we normally shut our eyes to that mystery, then it is all the more the poet’s job to open them. Still not quite sure I grasp his thought, and yet it seems to me a remarkable poem.

O Wha’s The Bride

O wha’s the bride that carries the bunch
O’ thistles blinterin’ white?
Her cuckold bridegroom little dreids
What he sall ken this nicht.

For closer than gudeman can come
And closer to’r than hersel’,
Wha didna need her maidenheid
Has wrocht his purpose fell.

O wha’s been here afore me, lass,
And hoo did he get in?
– A man that deed or I was born
This evil thing has din.

And left, as it were on a corpse,
Your maidenheid to me?
– Nae lass, gudeman, sin’ Time began
’S hed ony mair to gie.

But I can gie ye kindness, lad,
And a pair o’ willin’ hands,
And you sall hae my breists like stars,
My limbs like willow wands.

And on my lips ye’ll heed nae mair,
And in my hair forget,
The seed o’ a’ the men that in
My virgin womb ha’e met.

Hugh MacDiarmid

Week 281: The Curse of Cromwell, by W.B.Yeats

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The Yeatsian rhetoric and Yeatsian rhythms are very seductive, so seductive that it may be some time before one begins to look askance at what is actually being said. This poem is a case in point, expressing the poet’s nostalgia for an unchanging, hierarchical society that comprises an aristocratic elite, a sturdy but deferential peasantry, and a few well-rewarded poets between. ‘His fathers served their fathers before Christ was crucified’. Not, you note, the other way round, and one may reflect that it is much easier to be in favour of an unchanging social order when others are doing the serving and you’re the one being served. And yet, whatever my egalitarian reservations, I find the poem compellingly memorable.

The Curse Of Cromwell

You ask what I have found, and far and wide I go:
Nothing but Cromwell’s house and Cromwell’s murderous crew,
The lovers and the dancers are beaten into the clay,
And the tall men and the swordsmen and the horsemen, where are they?
And there is an old beggar wandering in his pride –
His fathers served their fathers before Christ was crucified.
O what of that, O what of that,
What is there left to say?

All neighbourly content and easy talk are gone,
But there’s no good complaining, for money’s rant is on.
He that’s mounting up must on his neighbour mount,
And we and all the Muses are things of no account.
They have schooling of their own, but I pass their schooling by,
What can they know that we know that know the time to die?
O what of that, O what of that,
What is there left to say?

But there’s another knowledge that my heart destroys,
As the fox in the old fable destroyed the Spartan boy’s
Because it proves that things both can and cannot be;
That the swordsmen and the ladies can still keep company,
Can pay the poet for a verse and hear the fiddle sound,
That I am still their servant though all are underground.
O what of that, O what of that,
What is there left to say?

I came on a great house in the middle of the night,
Its open lighted doorway and its windows all alight,
And all my friends were there and made me welcome too;
But I woke in an old ruin that the winds howled through;
And when I pay attention I must out and walk
Among the dogs and horses that understand my talk.
O what of that, O what of that,
What is there left to say?

W.B.Yeats