Week 152: How Annandale Went Out, by Edwin Arlington Robinson

A poem first published more than a century ago, in 1910, but still topical given the ongoing debate on assisted dying, and the recent decision of our MPs that cats and dogs may be put out of their misery but human beings must, like Shakespeare’s Gloucester, be tied to the stake and stand the course.

How Annandale Went Out

‘They called it Annandale – and I was there
To flourish, to find words, and to attend:
Liar, physician, hypocrite, and friend,
I watched him; and the sight was not so fair
As one or two that I have seen elsewhere:
An apparatus not for me to mend –
A wreck, with hell between him and the end,
Remained of Annandale; and I was there.

I knew the ruin as I knew the man;
So put the two together, if you can,
Remembering the worst you know of me.
Now view yourself, as I was, on the spot –
With a slight kind of engine. Do you see?
Like this?… You wouldn’t hang me? I thought not’.

Edwin Arlington Robinson

Week 151: I have run, played, climbed…, by Molly Holden

It seems I have known too many women die before their time: a schoolmate, a friend at work, a sister-in-law, and most recently a neighbour at only thirty-two, leaving a daughter of four. I think of them when I read this poem, that balances so finely gratitude for life and grief at leaving it.

I have run, played, climbed…

I have run, played, climbed,
made love, given birth,
cooked, washed, devised a home,
planted seeds in earth.

What more could a woman want
than such a life without tears?
Only to see it continue
more years, more years.

Molly Holden

Week 150: From ‘The Reverse of the Medal’ by Patrick O’Brian

This passage is for me one of the high points in Patrick O’Brian’s meticulously crafted and inexhaustibly readable Aubrey-Maturin series of naval adventures set in Napoleonic times. The naval captain Jack Aubrey, as a result of a rather naïve trust in the British justice system of the time, has been sentenced to the stocks despite the best efforts of his friend Stephen Maturin, ship’s doctor and spy. Jack’s enemies are hoping, via hired bravos, to compound the indignity of the stocks by the infliction of serious injury, but the men with whom he has served over the years have quite other ideas. The passage is a perfect example of the narrative device which Tolkien, in his classic essay ‘On Fairy-stories’, calls ‘eucatastrophe’. 

Jack was led out of the dark room into the strong light, and as they guided him up the steps he could see nothing for the glare. ‘Your head here, sir, if you please,’ said the sheriff’s man in a low, nervous, conciliating voice ‘and your hands just here’.

The man was slowly fumbling with the bolt, hinge and staple, and as Jack stood there with his hands in the lower half-rounds, his sight cleared: he saw that the broad street was filled with silent, attentive men, some in long togs, some in shore-going rig, but all perfectly recognizable as seamen. And officers, by the dozen. Babbington was there, immediately in front of the pillory, facing him with his hat off, and Pullings, Stephen of course, Mowett, Dundas… He nodded to them, with almost no change in his iron expression, and his eye moved on: Parker, Rowan, Williamson, Hervey… and men from long, long ago, men he could scarcely name, lieutenants and commanders putting their promotions at risk, midshipmen and master’s mates their commission, warrant officers their advancement.

‘The head a trifle forward, if you please, sir,’ murmured the sheriff’s man, and the upper half of the wooden frame came down, imprisoning his defenceless face. He heard the click of the bolt and then in the dead silence a strong voice cry ‘Off hats’. With one movement hundreds of broad-brimmed tarpaulin-covered hats flew off and the cheering began, the fierce full-throated cheering he had so often heard in battle.

Patrick O’Brian

Week 149: Beyond Decoration, by P.J.Kavanagh

I was sad to hear of the death last week of the poet P.J.Kavanagh. I met Patrick once briefly at a poetry gathering when he read out one of my poems. I was hoping to see him afterwards to tell him how much I liked many of his own poems, but he had disappeared outside to catch up with the cricket on the radio and I thought he wouldn’t thank me for interrupting a Test Match at a possibly critical moment just to witter about poetry. So in lieu of that missed opportunity here is one of his that I would surely have cited, a poem of grief and epiphany, disarming in its vulnerable sincerity. 

Beyond Decoration

Stalled, in the middle of a rented room,
The couple who own it quarrelling in the yard
Outside, about which shade of Snowcem
They should use. (From the bed I’d heard
Her say she liked me in my dressing-gown
And heard her husband’s grunt of irritation.
Some ladies like sad men who are alone.)
But I am stalled, and sad is not the word.
Go out I cannot, nor can I stay in.
Becalmed mid-carpet, breathless, on the road
To nowhere and the road has petered out.

This was twenty years ago, and bad as that.
I must have moved at last, for I knelt down,
Which I had not before, nor thought I should.
It would not be exact to say I prayed;
What for? The one I wanted there was dead.
All I could do was kneel and so I did.
At once I entered dark so vast and warm
I wondered it could fit inside the room
When I looked round. The road I had to walk down
Was still there. From that moment it was mean
Beyond my strength to doubt what I had seen:
A heat at the heart of dark, so plainly shown,
A bowl, of two cupped hands, in which a pain
That filled a room could be engulfed and drown
And yet, for truth is in the bowl, remain…

Today I thought it time to write this down
Beyond decoration, humble, in plain rhyme,
As clear as I could, and as truthful, which I have done.

P.J.Kavanagh

Week 148: The Good Man in Hell, by Edwin Muir

I think that this poem by the Scots poet Edwin Muir (1887-1959) is in its way a fine, eloquent piece; the problem I have with it is that in the world as we observe it, more’s the pity, things don’t really work like that. The evil of the concentration camps, for example, was ended not by the patient, passive virtue of those who found themselves in those manmade versions of Hell, but by the application of superior lethal force from outside. But maybe Muir would have said that he was concerned with more than the world as we observe it.

The Good Man in Hell

If a good man were ever housed in Hell
By needful error of the qualities,
Perhaps to prove the rule or shame the devil,
Or speak the truth only a stranger sees,

Would he, surrendering quick to obvious hate,
Fill half eternity with cries and tears,
Or watch beside Hell’s little wicket gate
In patience for the first ten thousand years,

Feeling the curse climb slowly to his throat
That, uttered, dooms him to rescindless ill,
Forcing his praying tongue to run by rote,
Eternity entire before him still?

Would he at last, grown faithful in his station,
Kindle a little hope in hopeless Hell,
And sow among the damned doubts of damnation,
Since here someone could live, and live well?

One doubt of evil would bring down such a grace,
Open such a gate, and Eden could enter in,
Hell be a place like any other place,
And love and hate and life and death begin.

Edwin Muir

Week 147: When I watch the living meet, by A.E.Housman

There was a catchphrase in my childhood ‘It’s being so cheerful keeps him going’, applied ironically to any particularly lugubrious utterance, and this can certainly seem the case with A.E.Housman, though it’s far from the whole picture. I found this little poem eerily disturbing when I first read it, since it seemed to suggest an afterlife with a kind of robotic sentience but not volition, and I have wondered if its closing lines provided part of the inspiration for the vision of the dry land of death that Ged and Arren cross in what for me is the most profound and satisfying of Ursula Le Guin’s ‘Earthsea’ books, ‘The Farthest Shore’. I believe, however, that Le Guin herself has said that the debt is to a line in Rilke’s ‘Duino Elegies’.

When I watch the living meet,
And the moving pageant file
Warm and breathing through the street
Where I lodge a little while,

If the heats of hate and lust
In the house of flesh are strong,
Let me mind the house of dust
Where my sojourn shall be long.

In the nation that is not
Nothing stands that stood before;
There revenges are forgot,
And the hater hates no more;

Lovers lying two and two
Ask not whom they sleep beside,
And the bridegroom all night through
Never turns him to the bride.

A.E.Housman

Week 146: Canoe, by Keith Douglas

This was the first Keith Douglas poem I came across, and I was struck by its air of almost throwaway accomplishment masking a deep emotional lyricism.

Canoe

Well, I am thinking this may be my last
summer, but cannot lose even a part
of pleasure in the old-fashioned art
of idleness. I cannot stand aghast

at whatever doom hovers in the background
while grass and buildings and the somnolent river
who know they are allowed to last for ever
exchange between them the whole subdued sound

of this hot time. What sudden fearful fate
can deter my shade wandering next year
from a return? Whistle, and I will hear
and come another evening when this boat

travels with you alone towards Iffley:
as you lie looking up for thunder again,
this cool touch does not betoken rain;
it is my spirit that kisses your mouth lightly.

Keith Douglas

Week 145: From ‘The Ballad of the White Horse’, by G.K.Chesterton

At twelve years old I thought ‘The Ballad of the White Horse’ the best poem ever written, though even then I suspected it had little to do with the historical Alfred, and indeed Chesterton himself disowned any claim to historical veracity. Yet when I came to learn more about that remarkable monarch, I became less sure: the incidents of the poem may be fictitious, but its spirit seems not so far from Alfred’s own, and Chesterton would not be the first poet to arrive at a deep truth from the dodgiest of premises.

This excerpt is taken from Book VII: Ethandune, The Last Charge.

Away in the waste of White Horse Down
An idle child alone
Played some small game through hours that pass,
And patiently would pluck the grass,
Patiently push the stone.

On the lean, green edge for ever,
Where the blank chalk touched the turf,
The child played on, alone, divine,
As a child plays on the last line
That sunders sand and surf.

For he dwelleth in high divisions
Too simple to understand,
Seeing on what morn of mystery
The Uncreated rent the sea
With roarings, from the land.

Through the long infant hours like days
He built one tower in vain–
Piled up small stones to make a town,
And evermore the stones fell down,
And he piled them up again.

And crimson kings on battle-towers,
And saints on Gothic spires,
And hermits on their peaks of snow,
And heroes on their pyres,

And patriots riding royally,
That rush the rocking town,
Stretch hands, and hunger and aspire,
Seeking to mount where high and higher,
The child whom Time can never tire,
Sings over White Horse Down.

And this was the might of Alfred,
At the ending of the way;
That of such smiters, wise or wild,
He was least distant from the child,
Piling the stones all day.

For Eldred fought like a frank hunter
That killeth and goeth home;
And Mark had fought because all arms
Rang like the name of Rome.

And Colan fought with a double mind,
Moody and madly gay;
But Alfred fought as gravely
As a good child at play.

He saw wheels break and work run back
And all things as they were;
And his heart was orbed like victory
And simple like despair.

Therefore is Mark forgotten,
That was wise with his tongue and brave;
And the cairn over Colan crumbled,
And the cross on Eldred’s grave.

Their great souls went on a wind away,
And they have not tale or tomb;
And Alfred born in Wantage
Rules England till the doom.

G.K.Chesterton

Week 144: Cottage Street, 1953, by Richard Wilbur

A characteristically humane and accomplished piece by the American poet Richard Wilbur (1921-2017), with a slight sting in the tale as it reminds us by its own example that good poems don’t have to be, like Sylvia Plath’s, ‘helpless and unjust’ – they can also be helpless and just.

Cottage Street, 1953

Framed in her phoenix fire-screen, Edna Ward
Bends to the tray of Canton, pouring tea
For frightened Mrs Plath; then, turning toward
The pale, slumped daughter, and my wife, and me,

Asks if we would prefer it weak or strong.
Will we have milk or sugar, she enquires?
The visit seems already strained and long.
Each in his turn, we tell her our desires.

It is my office to exemplify
The published poet in his happiness,
Thus cheering Sylvia, who has wished to die;
But half-ashamed, and impotent to bless,

I am a stupid life-guard who has found,
Swept to his shallows by the tide, a girl
Who, far from shore, has been immensely drowned,
And stares through water now with eyes of pearl.

How large is her refusal; and how slight
The genteel chat whereby we recommend
Life, of a summer afternoon, despite
The brewing dusk which hints that it may end.

And Edna Ward shall die in fifteen years,
After her eight-and-eighty summers of
Such grace and courage as permit no tears,
The thin hand reaching out, the last word love,

Outliving Sylvia, who, condemned to live,
Shall study for a decade, as she must,
To state at last her brilliant negative
In poems free and helpless and unjust.

Richard Wilbur

Week 143: The Quiet Grave, by U.A.Fanthorpe

While I like very much this poem by Ursula Fanthorpe about folksong, I think its conclusions are unduly pessimistic and a little unfair: it seems to me that while folksong may now survive mainly as a commercial art rather than springing naturally from the lives of the common people, we have been blessed in the last fifty years or so with plenty of artists who have treated the tradition with great respect and integrity, as well as taking it in new and sometimes interesting directions. Possibly it was the drawing-room treatment of folksong that Ursula was mainly objecting too, and I’m certainly with her there, but I’d have liked to know what she made of, say, June Tabor, Anne Briggs, Maddy Prior and the like.

The Quiet Grave
(for Cecil Sharp)

Underground Rome waited solidly
In stone patience. Orpheus might lose
A beast or two, cracked apart by roots
Of brambled centuries, but still
Foundations lasted, knowing, like the princess,
That one day a ferret and a boy
Exploring a rabbit hole would find an empire.

But this was a kingdom that lived

Some kinds of earth are reliable. The black
Peat of Somerset, and Norfolk mud
That tenderly cradled the deathship’s spectral
Long-rotted timbers. Some kinds of dryasdust
Air, too, responsibly cherish papyrus.

But this was a kingdom that lived In the living air.

Who held the keys of the kingdom?
Unfriendly old men in workhouses;
Bedridden ninety-year-olds terrorized
By high-handed grandchildren; gipsy women
With the long memories of the illiterate;
Old sailors who could sing only
Within sound of the sea. These
Held the keys of the kingdom.

Where was the kingdom?
The kingdom was everywhere. Under the noses
Of clerics devoted to folklore it lived
Invisibly, in gardens, in fields and kitchens,
In the servants’ quarters. No one could find it
But those who were in it already.

When was the kingdom?
The kingdom was while women washed
And men broke stones. It was
Intervals in birdscaring; between
A cup too low and a cup
Too high; when a great-grandfather
Sang like a lark. Then
Was the kingdom.

Who cared for the kingdom?
An old woman gathering stones,
Who seized Sharp by his gentle –
Manly lapels, blowing her song into his mind
Through wrinkled gums. A surly chap
In Bridgwater Union, holding
Sharp’s hand between his own grim bones,
Tears falling on all three. These
Cared for the kingdom.

What were the treasures of the kingdom?
Scraps of other worlds, prized
For their strangeness. A derrydown and a heyho.
And a rue dum day a fol the diddle dee.
These were the treasures of the kingdom.

Who were the heirs of the kingdom?
The kingdom had no heirs, only
A younger generation that winked
At senility’s music and switched on the gramophone.

What was the end of the kingdom?
Massed choirs of the Federation Of Women’s Institutes
filling The Albert Hall; laconic
Improper poetry improved
For the benefit of schools;
Expansion of The Folk Song Industry. These
Were the end of the kingdom.

For this was a kingdom that lived
In the dying air.

U.A. Fanthorpe