Week 53: The Wilderness, by Kathleen Raine

Here Kathleen Raine captures as well as in any poem I know that sense of the lost numinous that haunts so many twentieth-century poets: I think, for example, of Edwin Muir whose childhood in Orkney infused him with a lifelong sense of a departed Eden. Kathleen Raine herself grew up in Northumberland; I know this area only as an occasional visitor but it has always seemed to me a strange magical county, and though not much given to romantic fancy I find it easy to understand how the beautiful deserted hills and valleys of the Cheviots can work powerfully on the imagination.

The Wilderness

I came too late to the hills: they were swept bare
Winters before I was born of song and story,
Of spell or speech with power of oracle or invocation,

The great ash long dead by a roofless house, its branches rotten,
The voice of the crows an inarticulate cry,
And from the wells and springs the holy water ebbed away.

A child I ran in the wind on a withered moor
Crying out after those great presences who were not there,
Long lost in the forgetfulness of the forgotten.

Only the archaic forms themselves could tell!
In sacred speech of hoodie on gray stone, or hawk in air,
Of Eden where the lonely rowan bends over the dark pool.

Yet I have glimpsed the bright mountain behind the mountain,
Knowledge under the leaves, tasted the bitter berries red,
Drunk water cold and clear from an inexhaustible hidden fountain.

Kathleen Raine

Week 52: From ‘Remembrances’ by John Clare

In this great lament Clare mourns a countryside transfigured by the Enclosure Acts of the late eighteenth and nineteenth centuries, that enclosed much of what had previously been open fields or common land and removed the rights of local people to carry out their accustomed activities on these. Jay Griffiths in her book ‘Kith’, which has a fine section on Clare, blames the Enclosure Acts for beginning that exile from the natural world that she sees as the tragedy of modern childhood, but I am not so sure: in the nineteen-fifties my friends and I still roamed the countryside of small fields and hedgerows that the Acts had created, making no great distinction in our minds between private and public land except when it came to people’s gardens, and if we were the last generation to do so I think television, computers and parental paranoia are more immediate causes than an ancient legislation. But there is no arguing with Clare’s rush of passionate regret for what he had known, and if his verse can sometimes seem a little gauche it is the gaucheness of a transcendent integrity.

From ‘Remembrances’

O I never call to mind
These pleasant names of places but I leave a sigh behind
While I see the little mouldiwarps hang sweeing to the wind
On the only aged willow that in all the field remains
And nature hides her face where they’re sweeing in their chains
And in a silent murmuring complains

Here was commons for their hills where they seek for freedom still
Though every common’s gone and though traps are set to kill
The little homeless miners – O it turns my bosom chill
When I think of old Sneap Green, Puddocks Nook and Hilly Snow
Where bramble bushes grew and the daisy gemmed in dew
And the hills of silken grass like to cushions to the view
When we threw the pismire crumbs when we’d nothing else to do
All levelled like a desert by the never weary plough
All vanished like the sun where that cloud is passing now
All settled here for ever on its brow

I never thought that joys would run away from boys
Or that boys would change their minds and forsake such summer joys
But alack I never dreamed that the world had other toys
To petrify first feelings like the fable into stone
Till I found the pleasure past and a winter come at last
Then the fields were sudden bare and the sky got overcast
And boyhood’s pleasing haunt like a blossom in the blast
Was shrivelled to a withered weed and trampled down and done
Till vanished was the morning spring and set that summer sun
And winter fought her battle strife and won

By Langley Bush I roam but the bush hath left its hill
On Cowper Green I stray tis a desert strange and chill
And Spreading Lea, Close Oak ere decay had penned its will
To the axe of the spoiler and self interest fell a prey
And Crossberry Way and old Round Oak’s narrow lane
With its hollow trees like pulpits I shall never see again
Enclosure like a Buonaparte let not a thing remain
It levelled every bush and tree and levelled every hill
And hung the moles for traitors – though the brook is running still
It runs a naked brook cold and chill.

John Clare

Week 51: Stone, by D.M.Thomas

Stone

The first book of a poet should be called Stone
Or Evening, expressing in a single word
The modesty of being part of the earth,
The goodness of evening and stone, beyond the poet.

The second book should have a name blushing
With a great generality, such as My Sister Life,
Shocking in its pride, even more in its modesty:
Exasperated, warm, teasing, observant, tender.

Later books should withdraw into a mysterious
Privacy such as we all make for ourselves:
The White Stag or Plantain. Or include the name
Of the place at which his book falls open.

There is also the seventh book, perhaps, the seventh,
And called The Seventh Book because it is not published,
The one that a child thinks he could have written,
Made of the firmest stone and clearest leaves,

That a people keep alive by, keep alive.

D.M.Thomas

A fine tribute to the indomitable spirit of Russian poetry and the poets who kept faith with it during the Stalinist era while undergoing the kind of persecution that makes at least one English poet reflect that being of no interest whatsoever to the state or media may not be so bad after all…

 It is perhaps unnecessary to explain that ‘Stone’ was the title of Osip Mandelstam’s first collection, ‘Evening’ was the title of Anna Akhmatova’s first collection, ‘My Sister Life’ was the title of Boris Pasternak’s second collection, ‘Plantain’ and ‘Seventh Book’ were further collections by Akhmatova; the last named was never separately published.

Week 50: Dead Boy, by John Crowe Ransom

The American poet John Crowe Ransom wrote in a fastidious, ornate style that may sometimes seem to put too much distance between poem and reader but at its best produces work that combines great formal elegance with a uniquely bittersweet, elegiac flavour. I was torn between this one, ‘Bells for John Whiteside’s Daughter’ and ‘Vision By Sweetwater’. But we can always come back…

Dead Boy

The little cousin is dead, by foul subtraction,
A green bough from Virginia’s aged tree,
And none of the county kin like the transaction,
Nor some of the world of outer dark, like me.

A boy not beautiful, nor good, nor clever,
A black cloud full of storms too hot for keeping,
A sword beneath his mother’s heart — yet never
Woman bewept her babe as this is weeping.

A pig with a pasty face, so I had said,
Squealing for cookies, kinned by poor pretense
With a noble house. But the little man quite dead,
I see the forbears’ antique lineaments.

The elder men have strode by the box of death
To the wide flag porch, and muttering low send round
The bruit of the day. O friendly waste of breath!
Their hearts are hurt with a deep dynastic wound.

He was pale and little, the foolish neighbors say;
The first-fruits, saith the Preacher, the Lord hath taken;
But this was the old tree’s late branch wrenched away,
Grieving the sapless limbs, the shorn and shaken.

 John Crowe Ransom

Week 49: The Folly Of Being Comforted, by W.B.Yeats

As a young man I was a bit disconcerted on meeting Robert Graves to discover that he had no regard at all for W.B.Yeats, either as man or poet. Given my admirations at the time, it was a bit like getting to heaven and finding that Michael couldn’t stand Gabriel. I can see now that Yeats might be a poet from whom one withholds some degree of trust, but I find it impossible to withhold admiration, especially for what seem to be truly heartfelt lyrics like the following…

The Folly Of Being Comforted

One that is ever kind said yesterday:
‘Your well-belovèd’s hair has threads of grey,
And little shadows come about her eyes;
Time can but make it easier to be wise
Though now it seems impossible, and so
All that you need is patience.’
Heart cries, ‘No,
I have not a crumb of comfort, not a grain.
Time can but make her beauty over again:
Because of that great nobleness of hers
The fire that stirs about her, when she stirs,
Burns but more clearly. O she had not these ways
When all the wild Summer was in her gaze.’

O heart! O heart! if she’d but turn her head,
You’d know the folly of being comforted.

W.B.Yeats

Week 48: All Day It Has Rained, by Alun Lewis

All Day It Has Rained

All day it has rained, and we on the edge of the moors
Have sprawled in our bell-tents, moody and dull as boors,
Groundsheets and blankets spread on the muddy ground
And from the first grey wakening we have found
No refuge from the skirmishing fine rain
And the wind that made the canvas heave and flap
And the taut wet guy ropes ravel out and snap.
All day the rain has glided, wave and mist and dream,
Drenching the gorse and heather, a gossamer stream
Too light to move the acorns that suddenly
Snatched from their cups by the wild south-westerly
Pattered against the tent and our upturned dreaming faces.
And we stretched out, unbuttoning our braces,
Smoking a Woodbine, darning dirty socks,
Reading the Sunday papers – I saw a fox
And mentioned it in the note I scribbled home;

And we talked of the girls, and dropping bombs on Rome,
And thought of the quiet dead and the loud celebrities
Exhorting us to slaughter, and the herded refugees;
– Yet thought softly, morosely of them, and as indifferently
As of ourselves or those whom we
For years have loved, and will again
Tomorrow maybe love; but now it is the rain
Possesses us entirely, the twilight and the rain.

And I can remember nothing dearer or more to my heart
Than the children I watched in the woods on Saturday
Shaking down burning chestnuts for the schoolyard’s merry play,
Or the shaggy patient dog who followed me
By Sheet and Steep and up the wooded scree
To the Shoulder o’ Mutton where Edward Thomas brooded long
On death and beauty, till a bullet stopped his song.

I think that Alun Lewis, who died in Burma in 1944 aged only 28, was along with Keith Douglas the best of the British Second World War poets. This poem of his reminds us that the cost of war lies not only in death and destruction but in sundered lives and wasted time, yet the blank tense boredom of this particular wasted day seems at least partially redeemed by the poet’s beautiful interweaving of mood and weather.

Week 47: From ‘A Summer Night’, by W.H.Auden

From ‘A Summer Night’

Out on the lawn I lie in bed
Vega conspicuous overhead
In the windless nights of June,
As congregated leaves complete
Their day’s activity; my feet
Point to the rising moon.

Lucky, this point in time and space
Is chosen as my working-place,
Where the sexy airs of summer,
The bathing hours and the bare arms,
The leisured drives through a land of farms
Are good to the newcomer.

Equal with colleagues in a ring
I sit on each calm evening
Enchanted as the flowers
The opening light draws out of hiding
With all its gradual dove-like pleading,
Its logic and its powers:

That later we, though parted then,
May still recall these evenings when
Fear gave his watch no look;
The lion griefs loped from the shade
And on our knees their muzzles laid,
And Death put down his book.

Now north and south and east and west
Those I love lie down to rest;
The moon looks on them all,
The healers and the brilliant talkers,
The eccentrics and the silent walkers
The dumpy and the tall.

W.H.Auden

These are the opening stanzas of a longer poem, chronicling what Auden described as a vision of agape, pure devotional love. I think the poem then falls off somewhat: I feel that Auden can sometimes gets a bit wordy. But then those lion griefs come loping from the shade, and I bow to a master…

Week 46: Spring and Fall, by Gerard Manley Hopkins

Spring and Fall

To a young child

Margaret, are you grieving
Over Goldengrove unleaving?
Leaves, like the things of man, you
With your fresh thoughts care for, can you?
Ah! as the heart grows older
It will come to such sights colder
By and by, nor spare a sigh
Though worlds of wanwood leafmeal lie;
And yet you will weep and know why.
Now no matter, child, the name:
Sorrow’s springs are the same.
Nor mouth had, no nor mind, expressed
What heart heard of, ghost guessed:
It is the blight man was born for,
It is Margaret you mourn for.

Gerard Manley Hopkins

One of my favourite Hopkins poems: stamped with his usual superb originality but tender and straightforward and without that sense one sometimes has with him that his brilliant gifts of observation and expression are being enlisted a little too forcibly in the service of a piety.

Week 45: Limbo, by Seamus Heaney

So we have lost Seamus Heaney, and that’s a loss indeed. He was very good at Being A Poet, but more to the point, and the two don’t always go together, he was also very good at being a poet. It’s hard to pick out a single poem to represent him from so accomplished an oeuvre, but I have always felt that this one shows his Dantesque intensity of vision coupled with an empathy not always so characteristic of the great Italian.

Limbo

Fishermen at Ballyshannon
Netted an infant last night
Along with the salmon.
An illegitimate spawning,

A small one thrown back
To the waters. But I’m sure
As she stood in the shallows
Ducking him tenderly

Till the frozen knobs of her wrists
Were dead as the gravel,
He was a minnow with hooks
Tearing her open.

She waded in under
The sign of her cross.
He was hauled in with the fish.
Now limbo will be

A cold glitter of souls
Through some far briny zone.
Even Christ’s palms, unhealed,
Smart and cannot fish there.

Seamus Heaney

Week 44: Ce Pur Enfant, by Jules Supervielle

I confess that I find much of twentieth-century French poetry rather impenetrable – it could of course just be that my French isn’t up to it, though I suspect that the same could be said for many native Frenchmen. But I do find many of the poems of Jules Supervielle (1884-1960) both appealing and accessible. Here’s one of my favourites. I have attempted my own translation, which I append, but of course it’s no substitute for the French.

Ce Pur Enfant

Ce pur enfant, rose de chasteté,
Qu’a-t-il à voir avec la volupté?
Et fallait-il qu’en luxe d’innocence
Allât finir la fureur de nos sens?

Dorénavant en cette neuve chair
Se débattra notre amoureux mystère?
Après nous avoir pris le coeur d’assaut
L’amour se change en l’hôte d’un berceau,

En petits poings fermés, en courtes cuisses,
En ventre rond sans aucune malice
Et nous restons tous deux à regarder
Notre secret si mal, si bien gardé.

Jules Supervielle

This spotless child, this rose of chastity,
What’s he to do with our carnality?
And was our senses’ fury always meant
To find its end in such an innocent?

Henceforth in this new flesh, all turned about,
Shall our love’s mystery be acted out?
The passion that once took our hearts by storm
Finds in this cradled guest another form,

In tiny limbs, in little hands, so curled,
In belly, round and innocent of world,
While side by side we watch, for him to tell
Our secret, kept so badly, kept so well.