Week 236: Inversnaid, by Gerard Manley Hopkins

Another of my favourite Hopkins poems, which considering the date of its composition (1881) seems remarkably prophetic of our current concern for habitat loss and the ever-diminishing role of wild nature in our lives. 

Inversnaid

This darksome burn, horseback brown,
His rollrock highroad roaring down,
In coop and in comb the fleece of his foam
Flutes and low to the lake falls home.

A windpuff-bonnet of fawn-froth
Turns and twindles over the broth
Of a pool so pitchblack, fell-frowning,
It rounds and rounds Despair to drowning.

Degged with dew, dappled with dew,
Are the groins of the braes that the brook treads through,
Wiry heathpacks, flitches of fern,
And the beadbonny ash that sits over the burn.

What would the world be, once bereft
Of wet and wildness? Let them be left,
O let them be left, wildness and wet;
Long live the weeds and the wilderness yet.

Gerard Manley Hopkins

Week 235: Strange How You Stay, by Dorothy Trogdon

I have to confess that I had never heard of Dorothy Trogdon till a few days ago, when my attention was drawn to this poem on the Web and I knew from a sudden switching on of alertness that here was a poet I wanted to know better. Haven’t found out much about her so far – she’s American, lives in Orcas Island, been writing for a long while but only recently in her old age started publishing. So, acquaintance is a work in progress; meanwhile I hope you like this quietly assured piece as much as I did.

Strange How You Stay 

Strange how you may stay in one place—
Say a house facing a stand of alders—
and yet are carried forward,

stay in one place but not in that time,
not in the years that meant so much to you,
that were your happiest years,

how you are helplessly carried onward.

It has come hard to me, this knowledge,
I have had to practice to do it—

to swallow silently the losses while I hold close
what the heart has claimed.

Now the trees have entered their winter silence.
In the garden, one foolhardy yellow rose
Is blooming still.

Dorothy Trogdon

Week 234: Evidence At The Witch Trials, by James K. Baxter

An oddly disturbing piece by the New Zealand poet James Baxter (1926-1972) – witchcraft and devilry may be delusions that we have largely put behind us, but human vulnerability and gullibility are the same as ever, and maybe this account of a young person seduced by a sinister cult leader with promises of reward is not without echo in our own times.

Evidence At The Witch Trials

No woman’s pleasure did I feel
Under the hazel tree
When heavy as a sack of meal
The Black Man mounted me,
But cold as water from a dyke
His seed that quickened me.

What his age I cannot tell;
Foul he was, and fair.
There blew between us both from Hell
A blast of grit and fire,
And like a boulder is the babe
That in my womb I bear.

Though I was youngest in that band
Yet I was quick to learn.
A red dress he promised me
And red the torches burn.
Between the faggot and the flame
I see his face return.

James K. Baxter

Week 233: Quand vous serez bien vieille, by Pierre de Ronsard/The Apparition, by John Donne

Two for the price of one this week, as I thought they would make an interesting comparison. Both poems deal with what seems to be an occupational hazard of male poets: the fact of women not fancying them as much as they feel entitled to be fancied. But the spirit of the two poems is very different. Ronsard’s poem is grave, beautiful and not without compassion for the woman as he imagines her in her old age; Donne’s poem is more punchy, full of a jagged energy and vengeful to the point of vindictiveness. I value both poems greatly, but do you not get the feeling that that Ronsard’s poem, beautiful though it is, has something of the rhetorical exercise about it, while Donne really does have it in for this poor woman and doesn’t care who knows it?

Note on line 6 of the Donne poem: It was a common belief that candles guttered in the presence of ghosts.

The translation from the French is my own.

Quand vous serez bien vieille

Quand vous serez bien vieille, au soir, à la chandelle,
Assise auprès du feu, dévidant et filant,
Direz, chantant mes vers, en vous émerveillant:
Ronsard me célébrait du temps que j’étais belle.

Lors, vous n’aurez servante oyant telle nouvelle,
Déjà sous le labeur à demi sommeillant,
Qui au bruit de mon nom ne s’aille réveillant,
Bénissant votre nom de louange immortelle.

Je serai sous la terre et fantôme sans os:
Par les ombres myrteux je prendrai mon repos:
Vous serez au foyer une vieille accroupie,

Regrettant mon amour et votre fier dédain.
Vivez, si m’en croyez, n’attendez à demain:
Cueillez dès aujourd’hui les roses de la vie.

Pierre de Ronsard, Sonnets pour Hélène, 1578

When you are old and sit by candlelight
Spinning your wool at the fireside, then declare,
As you read out my lines for your delight,
‘Ronsard once feted me when I was fair’.

Then not a servant-girl, knowing my fame,
Though she be half-asleep in labour’s daze,
But suddenly will wake, to hear his name
Who blessed your own with such immortal praise.

By then I shall be bodiless, a shade
At rest now in some myrtle-shadowed glade
And you old, at the fireside, stooped and gray,

Regretting my lost love and your proud scorn.
Then trust me, live, and don’t wait till the morn,
Gather the roses of this life today.

The Apparition

When by thy scorn, O murd’ress, I am dead
And that thou think’st thee free
From all solicitation from me,
Then shall my ghost come to thy bed,
And thee, feign’d vestal, in worse arms shall see;
Then thy sick taper will begin to wink,
And he, whose thou art then, being tir’d before,
Will, if thou stir, or pinch to wake him, think
Thou call’st for more,
And in false sleep will from thee shrink;
And then, poor aspen wretch, neglected thou
Bath’d in a cold quicksilver sweat wilt lie,
A verier ghost than I.
What I will say, I will not tell thee now,
Lest that preserve thee; and since my love is spent,
I’had rather thou shouldst painfully repent,
Than by my threat’nings rest still innocent.

John Donne (1573-1631)

Week 232: The Sign-Post, by Edward Thomas

This Sunday, April 9th 1917, marks the 100th anniversary of the death of Edward Thomas, on the first day of the Battle of Arras. I will celebrate it with the first Edward Thomas poem that I ever came across, around the end of the nineteen-fifties. At that time Thomas was still far from having the iconic status among general poetry readers that he now enjoys, and he certainly hadn’t figured in my English teacher’s rather conservative version of the school curriculum, which stopped with that daring modernist Wordsworth (and let us never forget that Wordsworth was a daring modernist). But I fell in love at once with Thomas’s combination of close observation, natural speech rhythms and rueful self-examination.

The Sign-Post

The dim sea glints chill. The white sun is shy,
And the skeleton weeds and the never-dry,
Rough, long grasses keep white with frost
At the hilltop by the finger-post;
The smoke of the traveller’s joy is puffed
Over hawthorn berry and hazel tuft.
I read the sign. Which way shall I go?
A voice says: You would not have doubted so
At twenty. Another voice gentle with scorn
Says: At twenty you wished you had never been born.

One hazel lost a leaf of gold
From a tuft at the tip, when the first voice told
The other he wished to know what ’twould be
To be sixty by this same post. ‘You shall see,’
He laughed – and I had to join his laughter –
‘You shall see; but either before or after,
Whatever happens, it must befall,
A mouthful of earth to remedy all
Regrets and wishes shall freely be given;
And if there be a flaw in that heaven
’Twill be freedom to wish, and your wish may be
To be here or anywhere talking to me,
No matter what the weather, on earth,
At any age between death and birth, –
To see what day or night can be,
The sun and the frost, the land and the sea,
Summer, Autumn, Winter, Spring, –
With a poor man of any sort, down to a king,
Standing upright out in the air
Wondering where he shall journey, O where?

Edward Thomas

Week 231: Aubade, by Philip Larkin

‘No longer in Lethean foliage caught
Begin the preparation for your death
And from the fortieth winter by that thought
Test every work of intellect or faith,
And everything that your own hands have wrought,
And call those works extravagance of breath
That are not suited for such men as come
Proud, open-eyed and laughing to the tomb’

So wrote W.B.Yeats in ‘Vacillation’. To judge by that standard I doubt if Yeats would have thought much of the following poem, at least so far as its spirit goes, and for that matter neither do I, and yet I admire it greatly, for honesty can be admirable even if what you are being honest about is not admirable. Yes, the poem’s message may seem profoundly nihilistic. ‘Death is no different whined at or withstood’ – to which one is tempted to reply, that may very well be so, but the person doing the whining or withstanding certainly is. Yet in other ways the poem is anything but nihilistic: it does after all affirm the preciousness of life, of what in another masterly poem, ‘The Old Fools’, Larkin calls the ‘million-petalled flower of being here’. And as always with Larkin we have such craftsmanship, such felicity, which is in itself an affirmation, and perhaps the truest one that a poet can make.

Aubade

I work all day, and get half-drunk at night.
Waking at four to soundless dark, I stare.
In time the curtain-edges will grow light.
Till then I see what’s really always there:
Unresting death, a whole day nearer now,
Making all thought impossible but how
And where and when I shall myself die.
Arid interrogation: yet the dread
Of dying, and being dead,
Flashes afresh to hold and horrify.

The mind blanks at the glare. Not in remorse
– The good not done, the love not given, time
Torn off unused – nor wretchedly because
An only life can take so long to climb
Clear of its wrong beginnings, and may never;
But at the total emptiness for ever,
The sure extinction that we travel to
And shall be lost in always. Not to be here,
Not to be anywhere,
And soon; nothing more terrible, nothing more true.

This is a special way of being afraid
No trick dispels. Religion used to try,
That vast, moth-eaten musical brocade
Created to pretend we never die,
And specious stuff that says No rational being
Can fear a thing it will not feel
, not seeing
That this is what we fear – no sight, no sound,
No touch or taste or smell, nothing to think with,
Nothing to love or link with,
The anaesthetic from which none come round.

And so it stays just on the edge of vision,
A small unfocused blur, a standing chill
That slows each impulse down to indecision.
Most things may never happen: this one will,
And realisation of it rages out
In furnace-fear when we are caught without
People or drink. Courage is no good:
It means not scaring others. Being brave
Lets no one off the grave.
Death is no different whined at than withstood.

Slowly light strengthens, and the room takes shape.
It stands plain as a wardrobe, what we know,
Have always known, know that we can’t escape,
Yet can’t accept. One side will have to go.
Meanwhile telephones crouch, getting ready to ring
In locked-up offices, and all the uncaring
Intricate rented world begins to rouse.
The sky is white as clay, with no sun.
Work has to be done.
Postmen like doctors go from house to house.

Philip Larkin

Week 230: The Lucky Marriage, by Thomas Blackburn

I much admire this poem by Thomas Blackburn (1916-1977), especially the first three stanzas with their perceptive take on fairy-tales, but I confess I get a bit lost in the last stanza where I feel the need, as rather often with more modern poetry, of someone cleverer than me to explain a few things. What does he mean ‘reach beyond our pronouns and come into ourselves’? That we must stop relying on other people for our spiritual completeness? And what exactly is ‘the lucky marriage’? Any elucidation gratefully received…

The Lucky Marriage

I often wonder, as the fairy story
Tells how the little goose-girl found her prince
Or of the widowed queen who stopped her carriage
And flung a rose down to the gangling dunce,
What is the meaning of this lucky marriage
Which lasts forever, it is often said,
Because I know too well such consummation
Is not a question of a double bed,
Or of the bridal bells and royal procession
With twenty major-domos at its head.

At least its bride and groom must be rejected.
The fairy godmother will only call
On Cinders scrubbing tiles beside the chimney
While her proud sisters foot it at the ball
From all but the last son without a birthright
The beggar-woman hoards her magic seed
Well, if they’d had the good luck of their siblings
And found occasion kinder to their need
They would have spent their breath on natural pleasures
And had no time for murmurs in the night
They heard because they were condemned to silence
And learnt to see because they had no light.

I mean the elder son and cherished sister
Know but the surface of each common day,
It takes the cunning eye of the rejected
To dip beneath the skin of shadow play
And come into the meaning of a landscape.
I think that every bird and casual stone
Are syllables thrust down from some broad language
That we must ravel out and make our own.
Yet who is ever turned towards that journey
Till deprivations riddle through the heart,
And so I praise the goose-girl and the scullion
Who lie together by the refuse cart.

And yet all images for such completion
Somehow by-pass its real ghostliness,
Which can’t be measured by a sweating finger
Or any salt and carnal nakedness.
Although two hands upon a single pillow
May be the metaphor which serves it best,
No lying down within a present moment
Will give the outwardgoing any rest,
It’s only when we reach beyond our pronouns
And come into ourselves that we are blest.
Is this the meaning of the lucky marriage
Which lasts forever, it is often said,
Between the goose-girl and the kitchen-servant,
Who have no wedding-ring or mutual bed?

Thomas Blackburn

Week 228: Wood Magic, by John Buchan

At the back of the house where I lived as a child was the Field, and beyond the Field was the Wood. I can see now that it was neither a very big wood nor a very wild one, but everything seems bigger and wilder when you are a child, and since I was brought up in the carefree days of the nineteen-fifties when mothers really didn’t care where you were for most of the day as long as you weren’t indoors getting under their feet, an awful lot of my free time from the age of six or so was spent wandering its groves and dells, sometimes in company but often alone. It was a place that for me combined fear and romance in equal measure: to step into it seemed to be to enter another, older time, and when at the age of twelve I came across this poem in John Buchan’s ‘The Moon Endureth’ (having first been attracted to that book by a remarkable short story ‘The Lemnian’), I felt I knew exactly what Jehan the hunter was talking about. It may seem a very old-fashioned sort of poem now, but somehow it still brings back to me (as does Kipling’s ‘The Way Through The Woods’), the magical experience of entering the Wood as a child, late on a summer evening with twilight already gathering under the trees.

Wood Magic

I will walk warily in the wise woods on the fringes of eventide,
For the covert is full of noises and the stir of nameless things.
I have seen in the dusk of the beeches the shapes of the lords that ride,
And down in the marish hollow I have heard the lady who sings.
And once in an April gloaming I met a maid on the sward,
All marble-white and gleaming and tender and wild of eye; –
I, Jehan the hunter, who speak am a grown man, middling hard,
But I dreamt a month of the maid, and wept I knew not why.

Down by the edge of the firs, in a coppice of heath and vine,
Is an old moss-grown altar, shaded by briar and bloom,
Denys, the priest, hath told me ’twas the lord Apollo’s shrine
In the days ere Christ came down from God to the Virgin’s womb.
I never go past but I doff my cap and avert my eyes –
(Were Denys to catch me I trow I’d do penance for half a year) –
For once I saw a flame there and the smoke of a sacrifice,
And a voice spake out of the thicket that froze my soul with fear.

Wherefore to God the Father, the Son, and the Holy Ghost,
Mary the Blessed Mother, and the kindly Saints as well,
I will give glory and praise, and them I cherish the most,
For they have the keys of Heaven, and save the soul from Hell.
But likewise I will spare for the Lord Apollo a grace,
And a bow for the lady Venus – as a friend but not as a thrall.
‘Tis true they are out of Heaven, but some day they may win the place;
For gods are kittle cattle, and a wise man honours them all.

John Buchan

Week 227: The Send-off, by Wilfred Owen

My home in South Oxfordshire is only a few miles from the village of Dunsden, where the poet Wilfred Owen worked before the First World War as a lay assistant to the vicar. It was not a happy time for him: he clashed with his employer and became disenchanted with the Church, which he saw as being indifferent to the poverty and ill-health that he saw all round him. But now Dunsden is understandably rather proud of its association with the awkward young man who went on to become the greatest poet of the First World War, and last weekend my wife and I went to a Snowdrop Sunday at the church there which featured a celebration of the poet and a reading from his work, that included the poem below.

It’s a secretive, anonymous countryside, this southern outlier of the Chiltern Hills, only a few miles from the bustle of Reading, but its lanes and woods can seem little changed from an older time, and it struck me that though Owen wrote this poem during his stay at Craiglockhart in Scotland, this may well have been the area he had in mind when he wrote in the closing lines of ‘half-known roads’ and ‘village wells’ – a very fine example of a village well can still be seen a few miles away at Stoke Row.

The Send-off

Down the close, darkening lanes they sang their way
To the siding-shed,
And lined the train with faces grimly gay.

Their breasts were stuck all white with wreath and spray
As men’s are, dead.

Dull porters watched them, and a casual tramp
Stood staring hard,
Sorry to miss them from the upland camp.
Then, unmoved, signals nodded, and a lamp
Winked to the guard.

So secretly, like wrongs hushed-up, they went.
They were not ours:
We never heard to which front these were sent.

Nor there if they yet mock what women meant
Who gave them flowers.

Shall they return to beatings of great bells
In wild trainloads?
A few, a few, too few for drums and yells,
May creep back, silent, to still village wells
Up half-known roads.

Wilfred Owen

Week 226: So We’ll Go No More a-Roving, by Lord Byron (George Gordon)

There is a paradox about this best and best-known of Byron’s lyrics, which is that it is really not very Byronic, that it bears so little imprint of the entertainingly dodgy character who pervades poems like ‘Don Juan’. Instead, it attains to the kind of anonymous purity and freshness one normally associates with folksong, in the way that Burns or chameleonic Shakespeare sometimes managed.

So, We’ll Go No More a-Roving

So, we’ll go no more a-roving
So late into the night,
Though the heart still be as loving,
And the moon still be as bright.

For the sword outwears its sheath,
And the soul wears out the breast,
And the heart must pause to breathe,
And love itself have rest.

Though the night was made for loving,
And the day returns too soon,
Yet we’ll go no more a-roving
By the light of the moon.

Lord Byron (George Gordon)