Week 277: A Father’s Death, by John Hewitt

Another lesson from the Irish poet John Hewitt (1907-1987) in how form may be used to contain feeling as a cartridge-case contains gunpowder.

A Father’s Death

It was no vast dynastic fate
when gasp by gasp my father died,
no mourner at the palace gate
or tall bells tolling slow and wide.

We sat beside the bed: the screen
shut out the hushed, the tiptoe ward,
and now and then we both would lean
to catch what seemed a whispered word.

My mother watched her days drag by,
two score and five the married years,
yet never weakened to a cry
who was so ready with her tears.

Then, when dawn washed the polished floor
and steps and voices woke and stirred
with wheels along the corridor
my father went without a word.

The sick, the dying, bed by bed,
lay clenched around their own affairs;
that one behind a screen was dead
was someone’s grief, but none of theirs.

It was no vast dynastic death,
no nation silent round that throne,
when, letting go his final breath,
a lonely man went out alone.

John Hewitt

Week 276: Parents at Eighty, by Jack Winter

A very sad and moving piece, far removed from a Darby and Joan view of growing old together. I have to say it doesn’t really accord with the majority of my own observations: from what I’ve seen couples lucky enough to survive together into old age tend to experience, now that they are relieved of the stresses of child-rearing, a new serenity and a new closeness, perhaps founded on the realisation that now more than ever is the time to love that well which thou must leave ere long. But I am certainly prepared to believe that this may not always be the case.

Parents at Eighty

Who loved each other all this while
Have now begun to hate.
(Too late, my love, and you, my love,
Too late, my love, too late).

He cannot bear the way she walks.
She cannot watch him sit.
(As for you, you’re none of three
And want no share of it).

They draw me into corners
Beyond the prying other
To dish me grievance heaped on tale
Of mother, father, mother.

He will not wear his ear device.
She says what’s not worth hearing.
He snores. She slurs. Not his nor hers
Is illness feared, but fearing.

She dare not… can not… never has.
He would… some other mate.
She’s joyless… he, deprived his joy.
(Too late, my love, too late).

Had she but known the wage of care
For every day of woe,
She’d not have tended him, she’d not.
(My love, it’s time to go).

(And you and I move homeward
Down tunnels shaped like years.
My love, I’ll do your smile for you,
If you will do my tears).

Jack Winter

Week 275: She Walked Unaware, by Patrick MacDonogh

The Irish poet Patrick MacDonogh (1902-1961) was a contemporary of Louis MacNeice and Patrick Kavanagh, and incidentally an international hockey player. I love the Irish lilt of this one, and its folksong-like quality – indeed, its theme of the lover rejected in favour of a better prospect is a common one in Irish folksongs, such as ‘Going to Mass last Sunday’, that begins ‘Going to Mass last Sunday, my love she passed me by/I knew her mind was altered by the roving of her eye/I knew her mind was altered to a lad of higher degree/For it’s Molly, lovely Molly, your looks have wounded me’. But MacDonogh adds a lyrical awareness of the natural world not so common in folksong.

She Walked Unaware

Oh, she walked unaware of her own increasing beauty
That was holding men’s thoughts from market or plough,
As she passed by intent on her womanly duties
And she passed without leisure to be wayward or proud;
Or if she had pride then it was not in her thinking
But thoughtless in her body like a flower of good breeding.
The first time I saw her spreading coloured linen
Beyond the green willow she gave me gentle greeting
With no more intention than the leaning willow tree.

Though she smiled without intention yet from that day forward
Her beauty filled like water the four corners of my being,
And she rested in my heart like a hare in the form
That is shaped to herself. And I that would be singing
Or whistling at all times went silently then,
Till I drew her aside among straight stems of beeches
When the blackbird was sleeping and she promised that never
The fields would be ripe but I’d gather all sweetness,
A red moon of August would rise on our wedding.

October is spreading bright flame along stripped willows,
Low fires of the dogwood burn down to grey water, –
God pity me now and all desolate sinners
Demented with beauty! I have blackened my thought
In droughts of bad longing, and all brightness goes shrouded
Since he came with his rapture of wild words that mirrored
Her beauty and made her ungentle and proud.
Tonight she will spread her brown hair on his pillow,
But I shall be hearing the harsh cries of wild fowl.

Patrick MacDonogh

Week 274: On Wenlock Edge, by A.E.Housman

I walked along Wenlock Edge once. Still plenty of trees to be seen, but this was on a quiet evening of silver sun, far removed from Housman’s inner and outer weather. I suppose that Housman’s landscapes, compared with, say, those of Edward Thomas, may lack solidity and particularity, but for me they make up for it, as in this poem, with a luminous, time-layered, mythical quality.

On Wenlock Edge

On Wenlock Edge the wood’s in trouble;
His forest fleece the Wrekin heaves;
The gale, it plies the saplings double,
And thick on Severn snow the leaves.

‘Twould blow like this through holt and hanger
When Uricon the city stood:
‘Tis the old wind in the old anger,
But then it threshed another wood.

Then, ’twas before my time, the Roman
At yonder heaving hill would stare:
The blood that warms an English yeoman,
The thoughts that hurt him, they were there.

There, like the wind through woods in riot,
Through him the gale of life blew high;
The tree of man was never quiet:
Then ’twas the Roman, now ’tis I.

The gale, it plies the saplings double,
It blows so hard, ’twill soon be gone:
To-day the Roman and his trouble
Are ashes under Uricon.

A.E.Housman

Week 273: Ithaka, by C.P.Cavafy

This is one of the best known poems of the Greek poet Constantine Peter Cavafy (1863-1933), and I think even in translation it has a kind of morning freshness, a harking back to a Homeric age of heroes, while managing at the same time to be perfectly modern. 

Ithaka

As you set out for Ithaka
hope the journey is a long one,
full of adventure, full of discovery.
Laistrygonians and Cyclops,
angry Poseidon – don’t be afraid of them:
you’ll never find things like that on your way
as long as you keep your thoughts raised high,
as long as a rare excitement
stirs your spirit and your body.
Laistrygonians and Cyclops,
wild Poseidon – you won’t encounter them
unless you bring them along inside your soul,
unless your soul sets them up in front of you.

Hope the voyage is a long one.
May there be many a summer morning when,
with what pleasure, what joy,
you come into harbours seen for the first time;
may you stop at Phoenician trading stations
to buy fine things,
mother of pearl and coral, amber and ebony,
sensual perfume of every kind –
as many sensual perfumes as you can;
and may you visit many Egyptian cities
to gather stores of knowledge from their scholars.

Keep Ithaka always in your mind.
Arriving there is what you are destined for.
But do not hurry the journey at all.
Better if it lasts for years,
so you are old by the time you reach the island,
wealthy with all you have gained on the way,
not expecting Ithaka to make you rich.

Ithaka gave you the marvellous journey.
Without her you would not have set out.
She has nothing left to give you now.

And if you find her poor, Ithaka won’t have fooled you.
Wise as you will have become, so full of experience,
you will have understood by then what these Ithakas mean.

C.P. Cavafy (translated by Edmund Keeley and Philip Sharrard)

Week 272: The Seventh Angel, by Zbigniew Herbert

We last met Polish poet Zbigniew Herbert in week 124 with his offbeat, practically-minded take on ‘Hamlet’; here he turns his attention to angels and neatly undermines the glamour of sanctity in much the same way as he undermined the glamour of the tragic hero.

The Seventh Angel

The seventh angel
is completely different
even his name is different
Shemkel

he is no Gabriel
the aureate
upholder of the throne
and baldachin

and he’s no Raphael
tuner of choirs

and he’s also no
Azrael
planet-driver
surveyor of infinity
perfect exponent of theoretical physics

Shemkel
is black and nervous
and has been fined many times
for illegal import of sinners

between the abyss
and the heavens
without a rest his feet go pit-a-pat

his sense of dignity is non-existent
and they only keep him in the squad
out of consideration for the number seven
but he is not like the others

not like the hetman of the hosts
Michael
all scales and feathery plumes

nor like Azrafael
interior decorator of the universe
warden of its luxuriant vegetation
his wings shimmering like two oak trees

not even like
Dedrael
apologist and cabalist

Shemkel Shemkel
– the angels complain
why are you not perfect

the byzantine artists
when they paint all seven
reproduce Shemkel
just like the rest

because they suppose
they might lapse into heresy
if they were to portray him
just as he is
black nervous
in his old threadbare nimbus

Zbigniew Herbert (tr. Czeslaw Milosz and Peter Dale Scott)

Week 271: Elegy for Isabelle le Despenser, by D.M.Thomas

The poet prefixes this poem with the noteAt Tewkesbury Abbey is a lock of red-brown hair, belonging to Isabelle, Countess of Warwick, and dated 1429’

That is probably all you need to know to enjoy the poem, but to give a bit more background, Isabel le Despenser (1400-1439) was the posthumous daughter and eventually the sole heiress of Thomas le Despenser, 1st Earl of Gloucester, who was beheaded in 1399 for his part in a plot against Henry IV. Her mother was Constance of York, the daughter of Edmund of Langley, a son of King Edward III.

Elegy for Isabelle le Despenser

Better than stones and castles were my bones.
Better than spears and battles were my tears.
Better than towers and rafters was my laughter.
Better than light and stained glass was my sight.
Better than grate and boar-spit was my hate.
Better than rush and tapestry was my flush.
Better than gold and silver was my shiver.
Better than gloves and falcons was my love.
Better than crests and banners were my breasts.
Better than tombs and effigies was my womb.
Better than art and ikons was my hurt.
Better than crypts and candles were my friendships.
Better than leaf and parchment was my grief.
Better than mass and matins was my chatter.
Better than swans and bridges were my yawns.
Better than wool and weaving was my breathing.
Remember Isabelle le Despenser,
Who was as light and vivid as this hair.
We are all one.
She sees the clouds scud by, she breathes your air,
Pities the past and those who settled there.

D.M.Thomas

Week 270: Puck’s Song, by Rudyard Kipling

Kipling is such a many-sided writer: some sides I don’t much like, some I like very much, and the side I like best of all is the English mythopoet you find in the poems and stories that make up ‘Puck of Pook’s Hill’ and ‘Rewards and Fairies’, and in certain other of his poems, where he taps into some deep vein of our national psyche. Tolkien may have set out deliberately to create ‘a myth for England’; Kipling found one already there, a worn and patchwork thing maybe, but still potent in his times. And is it still potent in our times – is there gramarye still to be found in Merlin’s isle? Surprisingly, more than you might think would be my answer, for those prepared to leave the beaten track and wander, preferably on foot. I have heard the bubbling of nightjars at twilight under ancient beeches in the New Forest; I have come over Dragon Hill at sunset and seen Middle England before me in a haze of gold; I have listened to nightingales in Suffolk woods; I have sailed the puffin-crowded waters off Skomer on a May morning that might have been the morning of the world; I have walked unpeopled hills and valleys in the beautiful Cheviots, quiet now after centuries of border strife…. Yes, there is still gramarye enough to be found in this isle of ours.

Puck’s Song

See you the ferny ride that steals
Into the oak-woods far?
O that was whence they hewed the keels
That rolled to Trafalgar.

And mark you where the ivy clings
To Bayham’s mouldering walls?
O there we cast the stout railings
That stand around St. Paul’s.

See you the dimpled track that runs
All hollow through the wheat?
O that was where they hauled the guns
That smote King Philip’s fleet.

(Out of the Weald, the secret Weald,
Men sent in ancient years,
The horse-shoes red at Flodden Field,
The arrows at Poitiers!)

See you our little mill that clacks,
So busy by the brook?
She has ground her corn and paid her tax
Ever since Domesday Book.

See you our stilly woods of oak,
And the dread ditch beside?
O that was where the Saxons broke,
On the day that Harold died.

See you the windy levels spread
About the gates of Rye?
O that was where the Northmen fled,
When Alfred’s ships came by.

See you our pastures wide and lone,
Where the red oxen browse?
O there was a City thronged and known,
Ere London boasted a house.

And see you  after rain, the trace
Of mound and ditch and wall?
O that was a Legion’s camping-place,
When Caesar sailed from Gaul.

And see you marks that show and fade,
Like shadows on the Downs?
O they are the lines the Flint Men made,
To guard their wondrous towns.

Trackway and Camp and City lost,
Salt Marsh where now is corn –
Old Wars, old Peace, old Arts that cease,
And so was England born.

She is not any common Earth,
Water or wood or air,
But Merlin’s Isle of Gramarye,
Where you and I will fare! 

Rudyard Kipling

Week 269: A Ballad for Katherine of Aragon, by Charles Causley

Time for another by that modern master of the ballad, Charles Causley. Here he hauntingly interweaves two elegies, one for Henry VIII’s first queen Katherine of Aragon, transplanted from her sunny clime in Spain to end up intombed in cold Peterborough cathedral, the other for a schoolmate killed in Italy in the Second World War.

Note: The route of the Flying Scot ran through Peterborough on its way from London to Scotland. A ‘party’, as in Spanish party, was naval slang for a girl. And I’m sure that, unlike me, you won’t need to read the poem half a dozen times before it dawns on you that Causley’s friend Cross probably wasn’t actually christened Jumper.

A Ballad for Katherine of Aragon

As I walked down by the river
Down by the frozen fen
I saw the grey cathedral
With the eyes of a child of ten.

O the railway arch is smoky
As the Flying Scot goes by
And but for the Education Act
Go Jumper Cross and I.

But war is a bitter bugle
That all must learn to blow
And it didn’t take long to stop the song
In the dirty Italian snow.

O war is a casual mistress
And the world is her double bed
She has a few charms in her mechanized arms
But you wake up and find yourself dead.

The olive tree in winter
Casts her banner down
And the priest in white and scarlet
Comes up from the muddy town.

O never more will Jumper
Watch the Flying Scot go by.
His funeral knell was a six-inch shell
Singing across the sky.

The Queen of Castile has a daughter
Who won’t come home again
She lies in the grey cathedral
Under the arms of Spain.

O the Queen of Castile has a daughter
Torn out by the roots
Her lovely breast in a cold stone chest
Under the farmers’ boots.

Now I like a Spanish party
And many O many’s the day
I have watched them swim as the night came dim
In Algeciras Bay.

O the high sierra was thunder
And the seven-branched river of Spain
Came down to the sea to plunder
The heart of the sailor again.

O shall I leap in the river
And knock upon paradise door
For a gunner of twenty-seven and a half
And a queen of twenty-four?

From the almond tree by the river
I watch the sky with a groan,
For Jumper and Kate are always out late
And I lie here alone.

Charles Causley

Week 268: When Tommy Cooper died on Stage, by John Mole

John Mole (born 1941 and happily still with us) is a prolific writer of verse for both adults and children. John plays the jazz clarinet, but let’s not hold that against him too much – he does also write entertaining and sharply observed poems of which this piece on the death during performance of the English comedian Tommy Cooper is a good example. If you haven’t seen Tommy Cooper in action, rest assured that this captures his particular style beautifully.

When Tommy Cooper Died on Stage

All he’d ever had to do was stand up there
with that pillar-box grin, gauche heavyweight
of legerdemain, his manic stare
a bewildered glaze, his two left feet
tripping the board, so that when he died
it seemed the perfection of his act
in exquisite slow-motion, a long slide
into himself, such absolute control, the exact
moment recognised for what it offered
as the risk to take, a chance to bow out
on the wave of the applause he heard
from stalls and balcony, ignore the shout
of panic in the wings, his last breath
taken just like that. It was a poet’s death.

John Mole