Week 676: A slumber did my spirit seal, by William Wordsworth

The perennial force and freshness of this short poem, that first appeared in the 1798 collection ‘Lyrical Ballads’, reminds us of how William Wordsworth may have become a bit of a bore in his later years but once blew like a great gale through the decorous drawing-rooms of eighteenth-century verse.

The identity of the poem’s subject is not known. It is generally grouped with the four ‘Lucy’ poems, but that doesn’t get us very far because there is no agreement as to who Lucy was, if indeed she was any more than a literary device. Yet the poem’s very anonymity helps to make its truth more universal: that we find it hard, even impossible, to contemplate the death of our loved ones until one day, perhaps suddenly, they are no longer there.

A slumber did my spirit seal

A slumber did my spirit seal
I had no human fears:
She seemed a thing that could not feel
The touch of earthly years.

No motion has she now, no force;
She neither hears nor sees;
Rolled round in earth’s diurnal course,
With rocks, and stones, and trees.

William Wordsworth

I wonder, incidentally, if A.E.Housman had this poem in mind when he used a very similar conceit in his own beautiful lyric, ‘The night is freezing fast’:

‘The night is freezing fast,
Tomorrow comes December
And winterfalls of old
Are with me from the past;
And chiefly I remember
How Dick would hate the cold.

Fall, winter, fall; for he,
Prompt hand and headpiece clever
Has woven a winter robe,
And made of earth and sea
His overcoat for ever
And wears the turning globe.’

Housman was certainly an admirer of Wordsworth, citing him in his famous 1933 Cambridge lecture ‘The Name and Nature of Poetry’ as one who spoke with the true voice of poetry, so it seems more than possible.

Week 675: Noth, by Ada Christen

These rather tart quatrains by the Austrian writer Ada Christen (1839-1901) may be seen as a useful corrective to last week’s piece by Heine and also as a reflection of the way in which mid-nineteenth century German literature was reacting again the Romantic movement that had dominated the early part of the century and turning instead to a kind of social realism. Of course, poets will always be preoccupied with what Robert Frost called ‘inner weather’, but it does no harm for them to be reminded from time to time that most of the world’s population has its hands full dealing with outer weather.

The translation that follows is my own.

Noth

All euer girrendes Herzeleid
Tut lang nicht so weh,
Wie Winterkälte im dünnen Kleid,
Die bloßen Füße im Schnee.

All eure romantische Seelennot
Schafft nicht so herbe Pein,
Wie ohne Dach und ohne Brot
Sich betten auf einen Stein.

Ada Christen

Need

All your cooing heart’s distress
Lasts not so long a woe
As winter cold in threadbare dress
And bare feet in the snow.

And all your soul’s romantic need
Makes far less cause for moan
Than without roof and without bread
To couch upon a stone.

Week 674: Der Asra, by Heinrich Heine

This famous poem by the German poet Heinrich Heine, dealing with the hopeless love of a slave for a sultan’s daughter, first appeared in print in 1846 and was subsequently included in his 1851 collection ‘Romanzero’. It draws its inspiration from a Persian story concerning a tribe for whom love between different social classes was strictly taboo, such that those involved were known for being driven to kill themselves. A growing interest in things oriental was characteristic of the time, and this particular theme, of dying for love, chimed in well with the preoccupations of the German romantic era (Johann Wolfgang von Goethe’s 1774 epistolary novel ‘Die Leiden des jungen Werthers’ has a lot to answer for).

The translation that follows is my own.

Der Asra

Täglich ging die wunderschöne
Sultanstochter auf und nieder
Um die Abendzeit am Springbrunn,
Wo die weissen Wässer plätschern.

Täglich stand der junge Sklave
Um die Abendzeit am Springbrunn,
Wo die weissen Wässer plätschern.
Täglich ward er bleich und bleicher.

Eines Abends trat die Fürstin
Auf ihn zu mit raschen Worten:
‘Deinen Namen will ich wissen,
Deine Heimat, deine Sippschaft!’

Und der Sklave sprach: ‘Ich heisse
Mohamed, ich bin aus Yemen,
Und mein Stamm sind jene Asra,
Welche sterben, wenn sie lieben.’

Heinrich Heine

The Asra

Daily walked the sultan’s daughter
In her beauty to and fro
By the fountain in the evening
Where the foam-white waters flow.

Daily watching stood the slave boy
Where the foam-white waters play
By the fountain in the evening,
Growing paler day by day.

Till one evening came the princess
With bold words and started in:
Saying ‘I would know your name,
The land you come from, and your kin!’

He answered: ‘I am called Mohammed,
I am a Yemeni, and I
Am of that tribe they call the Asra,
Those who, when they love, must die.’

Week 673: The Son, by Clifford Dyment

Clifford Dyment (1914-1971) was only four years old when he lost his father in the First World War. This quietly effective piece commemorates him and all the others like him. It reminds us how great a rip war tears in the fabric of lives, not just of the soldiers themselves, but of those left behind. My own father was luckier than most: he was called up in the Second World War but was rated too short-sighted and flat-footed for active service, so was despatched to Minehead (‘guarding the western approaches’, as he wryly put it) where, to judge from a scrappy diary he kept that I found after his death, he seems to have spent the war weeding the officers’ gardens, playing cards, desperately missing his wife and two young daughters and being thoroughly bored. He came home unscathed, at least physically, but my mother once confided to me in her widowhood that things had never been quite the same between them after he returned: she had grown used to her independence and had realized that she could manage the household finances far better than my father ever had, and she was resentful when on return he demanded to take back control and promptly plunged the family into genteel poverty again. But at least, unlike Clifford Dyment’s father, he did come back.

The Son (1937)

I found the letter in a cardboard box,
Unfamous history. I read the words.
The ink was frail and brown, the paper dry
After so many years of being kept.
The letter was a soldier’s, from the Front—
Conveyed his love, and disappointed hope
Of getting leave. ‘It’s cancelled now,’ he wrote.
‘My luck is at the bottom of the sea.’

Outside, the sun was hot; the world looked bright;
I heard a radio, and someone laughed.
I did not sing, or laugh, or love the sun.
Within the quiet room I thought of him,
My father killed, and all the other men
Whose luck was at the bottom of the sea.

Clifford Dyment

Week 672: Welsh Incident, by Robert Graves

One has to be careful these days with humour at the expense of ethnic minorities, but I hope that this week’s offering by Robert Graves can be seen for what it is, as a piece of affectionate teasing based on the idea that the Welsh have a certain tendency to prolixity and rhetorical vagueness. I have to say that this is not at all my own experience: it seems to me that Welsh poets and prose writers are perfectly capable of economical, coherent and lucid storytelling. I suppose that the classic Welsh story ‘Culhwch ac Olwen’, that forms part of the collection of tales known as the Mabinogion, could be seen as a bit long-winded with its roll-call of warriors assigned by Arthur to assist Culhwch in his quest for the hand of the giant’s daughter, but for some it would be a pity to lose a single one of those glimpses into a whole lost legendarium.

Anyway, to Graves’ irreverent, unjust but rather entertaining take on the matter…

Welsh Incident

‘But that was nothing to what things came out
From the sea-caves of Criccieth yonder.’
‘What were they? Mermaids? dragons? ghosts?’
‘Nothing at all of any things like that.’
‘What were they, then?’
                                      All sorts of queer things,
Things never seen or heard or written about,
Very strange, un-Welsh, utterly peculiar
Things. Oh, solid enough they seemed to touch,
Had anyone dared it. Marvellous creation,
All various shapes and sizes, and no sizes,
All new, each perfectly unlike his neighbour,
Though all came moving slowly out together.’
‘Describe just one of them.’
                                          ‘I am unable.’
‘What were their colours?’
                                           Mostly nameless colours,
Colours you’d like to see; but one was puce
Or perhaps more like crimson, but not purplish.
Some had no colour.’
                                ‘Tell me, had they legs?’
‘Not a leg or foot among them that I saw.’
‘But did these things come out in any order?’
What o’clock was it? What was the day of the week?
Who else was present? How was the weather?’
‘I was coming to that. It was half-past three
On Easter Tuesday last. The sun was shining.
The Harlech Silver Band played Marchog Jesu
On thirty-seven shimmering instruments
Collecting for Caernarvon’s (Fever) Hospital Fund.
The populations of Pwllheli, Criccieth,
Portmadoc, Borth, Tremadoc, Penrhyndeudraeth,
Were all assembled. Criccieth’s mayor addressed them
First in good Welsh and then in fluent English,
Twisting his fingers in his chain of office,
Welcoming the things. They came out on the sand,
Not keeping time to the band, moving seaward
Silently at a snail’s pace. But at last
The most odd, indescribable thing of all
Which hardly one man there could see for wonder
Did something recognizably a something.’
‘Well, what?’
                   ‘It made a noise.’
                                              ‘A frightening noise?’
‘No, no.’
              ‘A musical noise? A noise of scuffling?’
‘No, but a very loud, respectable noise —
Like groaning to oneself on Sunday morning
In Chapel, close before the second psalm.’
‘What did the mayor do?’
                                        ‘I was coming to that.’

Robert Graves

Week 671: Cosmologies, by David Sutton

There is a famous passage in the writings of the physicist Richard Feynman in which he takes issue with poets for their perceived lack of engagement with the realities of science: ‘Poets say science takes away from the beauty of the stars — mere globs of gas atoms. I too can see the stars on a desert night, and feel them. But do I see less or more? The vastness of the heavens stretches my imagination — stuck on this carousel my little eye can catch one-million-year-old light. A vast pattern — of which I am a part…. What is the pattern, or the meaning, or the why? It does not do harm to the mystery to know a little about it. For far more marvellous is the truth than any artists of the past imagined it. Why do the poets of the present not speak of it? What men are poets who can speak of Jupiter if he were a man, but if he is an immense spinning sphere of methane and ammonia must be silent?’

This is characteristically eloquent, but also, I feel, a bit wrong-headed. I am sure that many poets are, as I am, deeply interested in the wondrous adventures of modern astronomy, but I don’t think Feynman had much understanding of the way poetic inspiration works. Real poems do not come about by poets sitting down and saying to themselves ‘Ah, time I wrote a poem about what Jupiter is really like’. It’s more a matter of having a voice in your head that suddenly says to you ‘Oi! You! Listen up…’ and what that voice says is unpredictable and depends on what, at the deepest level of your being, you are emotionally invested in. And fascinating though an immense sphere of methane and ammonia may be, it is quite hard to be emotionally invested in it. Or to put it another way, W.B.Yeats once said that out of the quarrel with others we make rhetoric, out of the quarrel with ourselves we make poetry. I think that is very true, and I find it difficult to see how Jupiter can form part of the quarrel with ourselves.

For what it’s worth, here’s one of my own poems on a cosmological theme, that nonetheless remains stubbornly rooted in the human. I don’t think Feynman would approve and yet, for better or worse, it’s what we project on to the universe that we relate to, not what the universe really is.

Cosmologies

‘If you could just keep going in a straight line’ –
Said my father, innocent of Einstein,
As we walked home one night of winter stars –
‘You’d come at last to somewhere where there was
Nothing at all. I mean, there has to be
A last star, and what then?’ This troubled me.
That night in bed I travelled in my mind
Through stars that whirled like snowflakes in the wind
Until I found, beyond one last faint glow,
A blank, like morning fog outside my window.
I woke and cried, but when my father came
To ask what ailed me, was it some old dream,
Sobbed ‘Nothing!’, so was left to sleep again
Like the blind Cyclops in his cave of pain.

Later I learned: my father had it wrong:
All lines bend back at last, however long.
There is no end to the great blizzard of light
I’d like to tell him now, and so I might
Had he not journeyed on, to somewhere far
Beyond all words of mine, and any star.

David Sutton

Week 670: The Other, by Edward Thomas

‘The Other’ is one of Edward Thomas’s earliest poems, written towards the end of 1914, and also one of his longest, about his sense of there always being a doppelganger or alter ego somewhere ahead of him that he can never quite catch up with. I don’t think that the poem as a whole quite comes off: it is a little prolix and uncertain, as if the poet himself is not sure what he is trying to say, and later his poems would become much more distilled. But as usual with Thomas it has some fine lyrical touches, especially in its evocation of a wild twilight in stanzas seven and eight.

Edward Thomas came my way once, in the summer of 1911, when he was researching material for one of his commissioned books on the countryside, ‘The Icknield Way’, making forays on foot or by bicycle along the length of the ancient trackway. On the day in question he had come down from Edlesborough in the north, following the course of the Way by lane and footpath through Wendover, Swyncombe, Ewelme and across Grim’s Ditch, until about evening he passed by Ipsden with its ‘little, solitary church’, continued down a rough road that dwindled to a footpath, and turned west to follow ‘a hard and hedgeless road, winding and undulating through corn that rises on either side to a crested ridge’. He crossed the Woodcote-Crowmarsh road (I guess at the turn out from Braziers Park), came along by Ivol Barn, across the crossroads at the foot of South Stoke Road, up Catsbrain Hill and so saw before him ‘the red roofs and walls of suburban Cleeve, and the Berkshire downs’. For some reason Edward did not take to Cleeve at all, which I have always thought a rather pleasant place with its tree-lined roads. Perhaps it was the end of a long day, and he was tired and far from home, but for whatever reason it triggered in him one of those fits of melancholy that characterised his temperament, and he let fly with a diatribe against the ‘blocks of redbrick houses’, wondering how people could bear to live in so spiritless a place.

Now I know that section of road over the upland to Cleeve intimately, since it forms part of one of my standard 10K loops from home, that I have run a hundred times, on harvest evenings, in winter moonlight. Sometimes, as twilight comes down over the ploughland, I have seen in my mind’s eye that figure in front of me on his lonely road, bitter with knowledge of the wasted power within him, and I have wished that time could be different, that one could go back and tell him that now, an unimaginable century on, he is where he would have wished to be, secure in his honour among the English poets. But of course, the future can say nothing to the past.

The Other

The forest ended. Glad I was
To feel the light, and hear the hum
Of bees, and smell the drying grass
And the sweet mint, because I had come
To an end of forest, and because
Here was both road and inn, the sum
Of what’s not forest. But ‘twas here
They asked me if I did not pass
Yesterday this way. ‘Not you? Queer.’
‘Who then? and slept here?’ I felt fear.

I learnt his road and, ere they were
Sure I was I, left the dark wood
Behind, kestrel and woodpecker,
The inn in the sun, the happy mood
When first I tasted sunlight there.
I travelled fast, in hopes I should.
Outrun that other. What to do
When caught, I planned not. I pursued
To prove the likeness, and, if true,
To watch until myself I knew.

I tried the inns that evening
Of a long gabled high-street grey,
Of courts and outskirts, travelling
An eager but a weary way,
In vain. He was not there. Nothing
Told me that ever till that day
Had one like me entered those doors,
Save once. That time I dared: ‘You may
Recall; – but never-foamless shores
Make better friends than those dull boors.

Many and many a day like this
Aimed at the unseen moving goal
ttAnd nothing found but remedies
For all desire. These made not whole;
They sowed a new desire, to kiss
Desire’s self beyond control,
Desire of desire. And yet
Life stayed on within my soul.
One night in sheltering from the wet
I quite forgot I could forget.

A customer, then the landlady
Stared at me. With a kind of smile
They hesitated awkwardly:
Their silence gave me time for guile.
Had anyone called there like me,
I asked. It was quite plain the wile
Succeeded. For they poured out all.
And that was naught. Less than a mile
Beyond the inn, I could recall
He was like me in general.

He had pleased them, but I less.
I was more eager than before
To find him out and to confess,
To bore him and to let him bore.
I could not wait: children might guess
I had a purpose, something more
That made an answer indiscreet.
One girl’s caution made me sore,
Too indignant even to greet
That other had we chanced to meet.

I sought then in solitude.
The wind had fallen with the night; as still
The roads lay as the ploughland rude,
Dark and naked, on the hill.
Had there been ever any feud
‘Twixt earth and sky, a mighty will
Closed it: the crocketed dark trees,
A dark house, dark impossible
Cloud-towers, one star, one lamp, one peace
Held on an everlasting lease:

And all was earth’s, or all was sky’s;
No difference endured between
The two. A dog barked on a hidden rise;
A marshbird whistled high unseen;
The latest waking blackbird’s cries
Perished upon the silence keen.
The last light filled a narrow firth
Among the clouds. I stood serene,
And with a solemn quiet mirth,
An old inhabitant of earth.

Once the name I gave to hours
Like this was melancholy, when
It was not happiness and powers
Coming like exiles home again,
And weaknesses quitting their bowers,
Smiled and enjoyed, far off from men,
Moments of everlastingness.
And fortunate my search was then
While what I sought, nevertheless,
That I was seeking, I did not guess.

That time was brief: once more at inn
And upon road I sought my man
Till once amid a tap-room’s din
Loudly he asked for me, began
To speak, as if it had been a sin,
Of how I thought and dreamed and ran
After him thus, day after day:
He lived as one under a ban
For this: what had I got to say?
I said nothing. I slipped away.

And now I dare not follow after
Too close. I try to keep in sight,
Dreading his frown and worse his laughter.
I steal out of the wood to light;
I see the swift shoot from the rafter
By the inn door: ere I alight
I wait and hear the starlings wheeze
And nibble like ducks: I wait his flight.
He goes: I follow: no release
Until he ceases. Then I also shall cease.

Edward Thomas

Week 669: The Grenadier and the Lady, by Anon

This week what I consider to be one of the most beautiful of English folksongs, and which I was prompted to feature by the news of the death of the actor Terence Stamp: many will remember how in the 1967 film version of ‘Far From The Madding Crowd’ an abbreviated version is sung hauntingly by Isla Cameron as an accompaniment to Sergeant Troy’s despairing efforts to put flowers on Fanny Robin’s grave.

The theme of maidens deceived by dodgy characters taking them for walks by the waterside is a common one in folksong: compare, for example, ‘Bogie’s Bonny Belle’ and ‘Willie Archer’, both fine songs but neither of which achieve quite the same combination of ribald innuendo and arcadian innocence. The song gains further poignancy from the fact that these days you would go a long way to find a clear crystal stream that hasn’t been polluted by industrial runoff or sewage, while your chances of ever hearing a nightingale have also become slight due to habitat loss.

The tune is constant, but as usual the words appear to exist in many versions, and I have chosen the one I am most familiar with, as sung by Polly Bolton on her album ‘Songs From A Cold Open Field’.

The Grenadier and the Lady

As I was a walking one morning in May
I spied a young couple a-making the hay.
One was a fair maid, and her beauty shone clear
And the other one was a soldier, and a bold Grenadier.

A-walking and a-talking and a-walking together,
A-walking so far till they couldn’t tell whither,
Till they sat themselves down by a clear crystal stream
For to see the flowers grow and hear the nightingales sing.

Then with kisses and with compliments he took her round the middle
And out of his knapsack he drew forth his fiddle,
And he played her such a fine tune as made the valleys all ring.
‘Hark, hark’, said the maiden, ‘hear the nightingales sing’.

‘O come’ said the soldier, ‘it is time to give o’er’.
‘Ah no’, said the fair maid, ‘please play one tune more.
For I do like your music and the touch of your string
And I do like to see the flowers grow and hear the nightingales sing’.

‘Then come’, said the fair maid, ‘will you marry me?’
’Ah, no’, said the soldier, ‘that never can be,
For I’ve got a wife in my own country
And so fair a woman as you ever did see.

‘I’ve got a wife there, and I’ve got children three.
Two wives in the army’s too many for me.
But if ever I return again it’ll be in the spring:
I’ll come to see the flowers grow and hear the nightingales sing’.

Anon

Week 668: Memory, by W.B.Yeats

Like much of Yeats, this little poem slips into the memory fairly effortlessly, and the play on the word ‘form’, used here as the correct precise term for a hare’s nest as well in the general sense, is nice. But I do have problems with it, in that the image of the hare’s form, though a charming one, doesn’t really work for me. Clearly it is meant to convey the idea that one particular woman (presumably Maud Gonne) had made such an impression on the poet’s mind that it could never fade or she be replaced. But hares are light, and grass is springy stuff and grows quickly. How long does the mark a hare leaves in grass actually last? I give it a week or two at best – not much of a tribute to poor Maud.

Maybe I am wrong to worry about this sort of thing, yet it seems to me that a poem should not only be neat and sound good, but should stand up to practical scrutiny at every level. Of course, I may be wrong and hares, those creatures of magic and fable, may make more of a lasting impression on the landscape than I imagine. Any leporine experts out there?

Memory

One had a lovely face,
And two or three had charm,
But charm and face were in vain
Because the mountain grass
Cannot but keep the form
Where the mountain hare has lain.

W.B.Yeats


Week 667: Surview, by Thomas Hardy

This week an affecting expression of the kind of regret that seems sadly common to poets as they age, a regret for, as T.S.Eliot puts it, ‘things ill done or done to others’ harm’, or in Philip Larkin’s words,The good not done, the love not given, time/Torn off unused’.

It strikes me that the trigger for this reverie is one that few will now experience, for how many of us these days have open fires? But certainly I remember from my childhood that time in the late evening when the fire had been left to burn down and one could lose oneself in gazing into it, as into an enchanted landscape of fiery plains and red-gold caves. Of course, open fires were dangerous, time-consuming and wildly inefficient, but with their demise a little of the poetry went out of the world.

Cogitavi vias meas: ‘I thought of my ways’, a quote from the Latin version of Psalm 118.

‘green-grained’ – I assume that this choice of epithet refers to the sticks still having some sap in them, causing them to hiss and sputter as they burn in a way that reminds the poet of a human voice.

Surview

‘Cogitavi vias meas’

A cry from the green-grained sticks of the fire
Made me gaze where it seemed to be:
‘Twas my own voice talking therefrom to me
On how I had walked when my sun was higher –
My heart in its arrogancy.

You held not to whatsoever was true,’
Said my own voice talking to me:
Whatsoever was just you were slack to see;
Kept not things lovely and pure in view
,’
Said my own voice talking to me.

You slighted her that endureth all,’
Said my own voice talking to me;
Vaunteth not, trusteth hopefully;
That suffereth long and is kind withal
,’
Said my own voice talking to me.

You taught not that which you set about,’
Said my own voice talking to me;
That the greatest of things is Charity…’
And the sticks burnt low, and the fire went out,
And my voice ceased talking to me.

Thomas Hardy