Week 104: Football at Slack, by Ted Hughes

One of the more startling aspects of Philip Larkin’s literary judgment is his dismissal of Ted Hughes as (I quote from a recently published letter) ‘no good at all’. Now, I can see why some of Ted’s wilder vatic utterances might lead one to the view that he was a bit bonkers, but surely scattered through his perhaps over-generous oeuvre are enough fine pieces to make Larkin’s judgment inexplicable. Here’s one that I particularly admire, a Breughelesque view of a football match that one feels only Ted could have written.

Football at Slack

Between plunging valleys, on a bareback of hill
Men in bunting colours
Bounced, and their blown ball bounced.

The blown ball jumped, and the merry-coloured men
Spouted like water to head it.
The ball blew away downwind –

The rubbery men bounced after it.
The ball jumped up and out and hung on the wind
Over a gulf of treetops.
Then they all shouted together, and the ball blew back.

Winds from fiery holes in heaven
Piled the hills darkening around them
To awe them. The glare light
Mixed its mad oils and threw glooms.
Then the rain lowered a steel press.

Hair plastered, they all just trod water
To puddle glitter. And their shouts bobbed up
Coming fine and thin, washed and happy

While the humped world sank foundering
And the valleys blued unthinkable
Under the depth of Atlantic depression

– But the wingers leapt, they bicycled in air
And the goalie flew horizontal

And once again a golden holocaust
Lifted the cloud’s edge, to watch them.

Ted Hughes

Week 103: Two Poems by Li Ho

The following two poems by the Chinese poet Li Ho (791-817) are taken from ‘Poems of the Late T’ang’, a wonderful collection of translations by A.C.Graham. Not knowing Chinese myself, I cannot judge how much may be lost from the originals, but one thing that shines out is their vivid, lyrical joy in natural phenomena, that reminds me somewhat of early Celtic nature poetry – no question of influence of course, just spiritual coincidence.

The Northern Cold

The sky glows one side black, three sides purple.
The Yellow River’s ice closes, fish and dragons die.
Bark three inches thick cracks across the grain.
Carts of a hundred piculs mount the river’s water.
Flowers of frost on the grass are big as coins,
Brandished swords will not pierce the foggy sky,
Crashing ice flies in the swirling seas,
And cascades hang noiseless in the mountains, rainbows of jade.

On and on for ever

The white glare recedes to the western hills,
High in the distance sapphire blossoms rise.
Where shall there be an end of old and new?
A thousand years have whirled away in the wind.
The sands of the ocean change to stone,
Fishes puff bubbles at the bridge of Ch’in,
The empty stream shines on into the distance.
The bronze pillars melt away with the years.

Li Ho (tr. A.C.Graham)

Week 102: Thirty Bob A Week, by John Davidson

As a young man, suffering from the unfortunate combination of extreme pride and a desperate shortage of money, I identified rather strongly with this poem, though I also couldn’t help feeling that Davidson’s protagonist had had it a bit cushy – taking inflation into account, thirty shillings a week didn’t actually sound too bad a wage for 1894 when the poem was published. And the guy could afford to smoke a pipe! Did he, I wondered, go all day at work on a spam sandwich because if a mortgage deposit was to be scraped together every penny counted? Even now I cannot look a tin of spam in the face. Things did become better for me, though sadly not for Davidson who, ground down by poverty and ill-health, committed suicide by drowning in 1909. I think this is his best poem, but in others too he shows himself to be an interesting original.

Thirty Bob A Week

I couldn’t touch a stop and turn a screw,
And set the blooming world a-work for me,
Like such as cut their teeth — I hope, like you —
On the handle of a skeleton gold key;
I cut mine on a leek, which I eat it every week:
I’m a clerk at thirty bob as you can see.

But I don’t allow it’s luck and all a toss;
There’s no such thing as being starred and crossed;
It’s just the power of some to be a boss,
And the bally power of others to be bossed:
I face the music, sir; you bet I ain’t a cur;
Strike me lucky if I don’t believe I’m lost!

For like a mole I journey in the dark,
A-travelling along the underground
From my Pillar’d Halls and broad Suburbean Park,
To come the daily dull official round;
And home again at night with my pipe all alight,
A-scheming how to count ten bob a pound.

And it’s often very cold and very wet,
And my misses stitches towels for a hunks;
And the Pillar’d Halls is half of it to let–
Three rooms about the size of travelling trunks.
And we cough, my wife and I, to dislocate a sigh,
When the noisy little kids are in their bunks.

But you never hear her do a growl or whine,
For she’s made of flint and roses, very odd;
And I’ve got to cut my meaning rather fine,
Or I’d blubber, for I’m made of greens and sod:
So p’r’haps we are in Hell for all that I can tell,
And lost and damn’d and served up hot to God.

I ain’t blaspheming, Mr. Silver-tongue;
I’m saying things a bit beyond your art:
Of all the rummy starts you ever sprung,
Thirty bob a week’s the rummiest start!
With your science and your books and your the’ries about spooks,
Did you ever hear of looking in your heart?

I didn’t mean your pocket, Mr., no:
I mean that having children and a wife,
With thirty bob on which to come and go,
Isn’t dancing to the tabor and the fife:
When it doesn’t make you drink, by Heaven! it makes you think,
And notice curious items about life.

I step into my heart and there I meet
A god-almighty devil singing small,
Who would like to shout and whistle in the street,
And squelch the passers flat against the wall;
If the whole world was a cake he had the power to take,
He would take it, ask for more, and eat them all.

And I meet a sort of simpleton beside,
The kind that life is always giving beans;
With thirty bob a week to keep a bride
He fell in love and married in his teens:
At thirty bob he stuck; but he knows it isn’t luck:
He knows the seas are deeper than tureens.

And the god-almighty devil and the fool
That meet me in the High Street on the strike,
When I walk about my heart a-gathering wool,
Are my good and evil angels if you like.
And both of them together in every kind of weather
Ride me like a double-seated bike.

That’s rough a bit and needs its meaning curled.
But I have a high old hot un in my mind
— A most engrugious notion of the world,
That leaves your lightning ‘rithmetic behind:
I give it at a glance when I say ‘There ain’t no chance,
Nor nothing of the lucky-lottery kind.’

And it’s this way that I make it out to be:
No fathers, mothers, countries, climates — none;
Not Adam was responsible for me,
Nor society, nor systems, nary one:
A little sleeping seed, I woke — I did, indeed —
A million years before the blooming sun.

I woke because I thought the time had come;
Beyond my will there was no other cause;
And everywhere I found myself at home,
Because I chose to be the thing I was;
And in whatever shape of mollusc or of ape
I always went according to the laws.

I was the love that chose my mother out;
I joined two lives and from the union burst;
My weakness and my strength without a doubt
Are mine alone for ever from the first:
It’s just the very same with a difference in the name
As ‘Thy will be done.’ You say it if you durst!

They say it daily up and down the land
As easy as you take a drink, it’s true;
But the difficultest go to understand,
And the difficultest job a man can do,
Is to come it brave and meek with thirty bob a week,
And feel that that’s the proper thing for you.

It’s a naked child against a hungry wolf;
It’s playing bowls upon a splitting wreck;
It’s walking on a string across a gulf
With millstones fore-and-aft about your neck;
But the thing is daily done by many and many a one;
And we fall, face forward, fighting, on the deck.

John Davidson

Week 101: The Death Of Queen Jane, by Anon

I first met this ballad on one of Joan Baez’s first albums, back in the early sixties – and thank you, Joan, for opening up to me a world of music I never knew existed – and though I have heard it in many versions since, it’s Joan’s economical lyrics I give here, even though they don’t quite match any of the official Child versions. It has long been one of my favourite folksongs, though my wife, who has undergone four births and two caesareans, has at times been less enamoured of it – ‘Do you have to keep playing that awful song when I’m nine months pregnant?’

The historical details seem to be a little awry – Jane Seymour did not die giving birth to Prince Edward, but twelve days later, King Henry was not there with her, and it is doubtful that she had a caesarean section at all, probably dying of a puerperal infection.

Bob Dylan used this song to criticise Joan Baez’s choice of material, saying that ‘Queen Jane’ was not ‘where it was at’. With all respect to the great Dylan, I think he was quite wrong: for me, songs like this are always and forever where it’s at.

The Death Of Queen Jane

Queen Jane lay in labour
For six weeks or more
The women grew weary
And the midwife gave o’er.

King Henry he was sent for
On horseback and speed.
King Henry came to her
In the time of her need.

O Henry, good King Henry,
If that you do be,
Come pierce my side open
And save my baby.

O no Jane, good Queen Jane,
That never could be.
I’d lose my sweet flower
To save my baby.

Queen Jane she turned over
She fell all in a swoon.
Her side was pierced open
And the baby was found.

How bright was the morning
How yellow was the moon,
How costly the white robe
Queen Jane was wrapped in.

King Henry he weeped,
He wrung his hands till they’re sore.
The flower of England
Will never be no more.

Anon

Week 100: Prologue from ‘The Golden Journey To Samarkand’, by James Elroy Flecker

When I first met this poem at the age of fourteen I thought that along with Yeats’s ‘The Song of Wandering Aengus’ it was the most magical thing I had ever read, and I walked the local woods in a dream muttering it to myself over and over. And now… well, tastes do change with age, usually in the direction of the spare and essential, and Flecker is too romantic for me to rate the lines as highly now as I did then, but even if we are not true to our first attachments we should still be grateful to them. And it does even now bring back the taste of that time, an April evening, the sweet confused melancholy of young love, a world of boundless hope and romance waiting beyond the horizon…

Prologue from ‘The Golden Journey To Samarkand’

We who with songs beguile your pilgrimage
And swear that Beauty lives though lilies die
We poets of the proud old lineage
Who sing to find your hearts, we know not why.

What shall we tell you? Tales, marvellous tales
Of ships and stars and isles where good men rest,
Where nevermore the rose of sunset pales,
And winds and shadows fall towards the west,

And there the world’s first huge white-bearded kings
In dim glades sleeping, murmur in their sleep,
And closer round their breasts the ivy clings
Cutting its pathway slow and red and deep.

And how beguile you? Death has no repose
Warmer and deeper than that Orient sand
Which hides the beauty and bright faith of those
Who made the Golden Journey to Samarkand.

And now they wait and whiten peaceably,
Those conquerors, those poets, those so fair:
They know time comes, not only you and I,
But the whole world shall whiten here and there;

When the long caravans that cross the plain
With dauntless feet and sound of silver bells
Put forth no more for glory or for gain,
Take no more solace from the palm-girt wells.

When the great markets by the sea shut fast
All that calm Sunday that goes on and on
When even lovers find their peace at last,
And earth is but a star, that once had shone.

James Elroy Flecker

Week 99: Provide, Provide, by Robert Frost

The American poet Randall Jarrell recounts how he was floating in a quarry with his chin on a log when he discovered that he knew Robert Frost’s ‘Provide, Provide’ by heart without having consciously learnt it. Many poets, among them W.H.Auden, Derek Walcott, Ted Hughes and Seamus Heaney, have stressed the value of learning poems by rote. No doubt there is much in what they say, but I do find that the poems that have meant most to me have seldom waited for the invitation of rote learning; they just sort of wander in and make themselves at home.

I like the folksy pastoral side of Frost very much as long as it’s not overdone, but I have to say that I think it’s the bleaker side, as, say, in ‘Home Burial’, that makes the greater poems.

Provide, Provide

The witch that came (the withered hag)
To wash the steps with pail and rag,
Was once the beauty Abishag,

The picture pride of Hollywood.
Too many fall from great and good
For you to doubt the likelihood.

Die early and avoid the fate.
Or if predestined to die late,
Make up your mind to die in state.

Make the whole stock exchange your own!
If need be occupy a throne,
Where nobody can call you crone.

Some have relied on what they knew;
Others on being simply true.
What worked for them might work for you.

No memory of having starred
Atones for later disregard,
Or keeps the end from being hard.

Better to go down dignified
With boughten friendship at your side
Than none at all. Provide, provide!

Robert Frost

Week 98: From ‘Little Gidding’, by T.S.Eliot

I confess to having had problems with the poetry of T.S.Eliot. When that pretentious farrago ‘The Waste Land’ was first served up to me in my youth my reaction was ‘Well, if that’s the best modernism has to offer they can stuff it’, and while as a critical response this may lack a certain nuance it still more or less does for me. But ‘Four Quartets’ is another matter: here it is a case of ‘’Well, I may not warm to this in the way I do to, say, the poems of Thomas Hardy, but let’s face it, this is good.’

Let me disclose the gifts reserved for age
To set a crown upon your lifetime’s effort.
First, the cold friction of expiring sense
Without enchantment, offering no promise
But bitter tastelessness of shadow fruit
As body and soul begin to fall asunder.
Second, the conscious impotence of rage
At human folly, and the laceration
Of laughter at what ceases to amuse.
And last, the rending pain of re-enactment
Of all that you have done, and been; the shame
Of motives late revealed, and the awareness
Of things ill done and done to others’ harm
Which once you took for exercise of virtue.
Then fools’ approval stings, and honour stains.
From wrong to wrong the exasperated spirit
Proceeds, unless restored by that refining fire
Where you must move in measure, like a dancer.’
The day was breaking. In the disfigured street
He left me, with a kind of valediction,
And faded on the blowing of the horn.

Week 97: Vine, by Vernon Watkins

This poem by the Welsh poet Vernon Watkins(1906-1967) finely images that core of patience that lies at the heart of the poetic process, and is perhaps, especially for the young poet, the hardest of its disciplines to learn.

Vine

Deep-rooted vine, delay your fruit
Beyond youth’s rashness. I have seen
Rich promise wither to the root
Before its time had been.

Drain all the darkness of the soil
And stand there shrivelled, crisp and dry,
Too lifeless in your parchment coil
To open one green eye.

Some watch the March winds animate
Those early bulbs in Winter’s bed.
Envy them not, but keep your state.
Let others think you dead.

Contain in secrecy that balm
Strengthening the sap before it move,
That the broad leaves from wells of calm
One day grow dark with love.

I know a tree as dry as yours.
The patient leaf is put forth late.
Its life is anchored in the hours
For which the heart must wait.

Vernon Watkins

Week 96: Hearing your words, and not a word among them, by Edna St Vincent Millay

The work of the American poet Edna St Vincent Millay (1892-1950) is on the whole a bit too unabashedly romantic for my taste, but I do much admire this sonnet, which combines her usual sensuousness with a solidity not always present in her work. I would like to know more about the context of the poem – it’s clear that she is pretty cross with someone but whom, when and why I have never been able to establish – anyone know? Not that the whom, when and why really matter.

Hearing your Words

Hearing your words and not a word among them
Tuned to my liking, on a salty day
When inland woods were pushed by winds that flung them
Hissing to leeward like a ton of spray,
I thought how off Matinicus the tide
Came pounding in, came running through the Gut,
While from the Rock the warning whistle cried,
And children whimpered, and the doors blew shut;
There in the autumn when the men go forth,
With slapping skirts the island women stand
In gardens stripped and scattered, peering north,
With dahlia tubers dripping from the hand:
The wind of their endurance, driving south,
Flattened your words against your speaking mouth.

Edna St Vincent Millay

Week 95: For A Dead Lady, by Edwin Arlington Robinson

The American poet Edwin Arlington Robinson (1869-1935) is probably best remembered today for that fine poem of old age, ‘Mr Flood’s Party’, but I like this one too, for all its datedness. Yes, the diction is dodgy in places: a line like ‘Whereof no language may requite’ creaks now and probably creaked when it was written. And yes, it may seem not quite the thing now to speak of women in that tone of courtly adulation that always carries a hint of patronage. But if you can accept the poem on its own terms, you may find it a moving enough indictment of ‘Time that is intolerant/Of the brave and innocent’.

For a Dead Lady

No more with overflowing light
Shall fill the eyes that now are faded,
Nor shall another’s fringe with night
Their woman-hidden world as they did.
No more shall quiver down the days
The flowing wonder of her ways,
Whereof no language may requite
The shifting and the many-shaded.

The grace, divine, definitive,
Clings only as a faint forestalling;
The laugh that love could not forgive
Is hushed, and answers to no calling;
The forehead and the little ears
Have gone where Saturn keeps the years;
The breast where roses could not live
Has done with rising and with falling.

The beauty, shattered by the laws
That have creation in their keeping,
No longer trembles at applause,
Or over children that are sleeping;
And we who delve in beauty’s lore
Know all that we have known before
Of what inexorable cause
Makes Time so vicious in his reaping.

Edwin Arlington Robinson