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Showing posts with label Poet: Thomas Hood. Show all posts
Showing posts with label Poet: Thomas Hood. Show all posts

Faithless Sally Brown -- Thomas Hood

       
(Poem #1331) Faithless Sally Brown
An old ballad.

 Young Ben he was a nice young man,
    A carpenter by trade;
 And he fell in love with Sally Brown,
    That was a lady's maid.

 But as they fetch'd a walk one day,
    They met a press-gang crew;
 And Sally she did faint away,
    Whilst Ben he was brought to.

 The Boatswain swore with wicked words,
    Enough to shock a saint,
 That though she did seem in a fit,
    'Twas nothing but a feint.

 "Come, girl," said he, "hold up your head,
    He'll be as good as me;
 For when your swain is in our boat,
    A boatswain he will be."

 So when they'd made their game of her,
    And taken off her elf,
 She roused, and found she only was
    A coming to herself.

 "And is he gone, and is he gone?"
    She cried, and wept outright:
 "Then I will to the water side,
    And see him out of sight."

 A waterman came up to her,--
    "Now, young woman," said he,
 "If you weep on so, you will make
    Eye-water in the sea."

 "Alas! they've taken my beau Ben
    To sail with old Benbow;"
 And her woe began to run afresh,
    As if she'd said Gee woe!

 Says he, "They've only taken him
    To the Tender ship, you see";
 "The Tender-ship," cried Sally Brown
    "What a hard-ship that must be!"

 "O! would I were a mermaid now,
    For then I'd follow him;
 But Oh!--I'm not a fish-woman,
    And so I cannot swim.

 "Alas! I was not born beneath
    The virgin and the scales,
 So I must curse my cruel stars,
    And walk about in Wales."

 Now Ben had sail'd to many a place
    That's underneath the world;
 But in two years the ship came home,
    And all her sails were furl'd.

 But when he call'd on Sally Brown,
    To see how she went on,
 He found she'd got another Ben,
    Whose Christian-name was John.

 "O Sally Brown, O Sally Brown,
    How could you serve me so?
 I've met with many a breeze before,
    But never such a blow":

 Then reading on his 'bacco box
    He heaved a bitter sigh,
 And then began to eye his pipe,
    And then to pipe his eye.

 And then he tried to sing "All's Well,"
    But could not though he tried;
 His head was turn'd, and so he chew'd
    His pigtail till he died.

 His death, which happen'd in his berth,
    At forty-odd befell:
 They went and told the sexton, and
    The sexton toll'd the bell.
-- Thomas Hood
A series of bad puns disguised as a poem - what's not to like? :) The last two
lines have the distinction of being the first piece of Hood I ever heard,
and their charm has not faded with time - some of the other puns limp a
little, but that one is flawless.

It is interesting to compare today's poem with Carryl's "How a Cat Was
Annoyed and a Poet Was Booted" [Poem #273] - the latter takes a similar
"pack in as many bad puns as we can" approach, but at the same time, pokes
fun at itself for doing so. And, I believe, manages to be a funnier poem in
the process - Hood has the occasional gem, but the poem as a whole is
slightly laboured.

martin

The Dream of Eugene Aram -- Thomas Hood

Winding up the theme...
(Poem #720) The Dream of Eugene Aram
 'Twas in the prime of summer-time
 An evening calm and cool,
 And four-and-twenty happy boys
 Came bounding out of school:
 There were some that ran and some that leapt,
 Like troutlets in a pool.

 Away they sped with gamesome minds,
 And souls untouched by sin;
 To a level mead they came, and there
 They drave the wickets in:
 Pleasantly shone the setting sun
 Over the town of Lynn.

 Like sportive deer they coursed about,
 And shouted as they ran,--
 Turning to mirth all things of earth,
 As only boyhood can;
 But the Usher sat remote from all,
 A melancholy man!

 His hat was off, his vest apart,
 To catch heaven's blessed breeze;
 For a burning thought was in his brow,
 And his bosom ill at ease:
 So he leaned his head on his hands, and read
 The book upon his knees!

 Leaf after leaf he turned it o'er
 Nor ever glanced aside,
 For the peace of his soul he read that book
 In the golden eventide:
 Much study had made him very lean,
 And pale, and leaden-eyed.

 At last he shut the pond'rous tome,
 With a fast and fervent grasp
 He strained the dusky covers close,
 And fixed the brazen hasp;
 "Oh, God! could I so close my mind,
 And clasp it with a clasp!"

 Then leaping on his feet upright,
 Some moody turns he took,--
 Now up the mead, then down the mead,
 And past a shady nook,--
 And lo! he saw a little boy
 That pored upon a book.

 "My gentle lad, what is't you read --
 Romance or fairy fable?
 Or is it some historic page,
 Of kings and crowns unstable?"
 The young boy gave an upward glance,--
 "It is 'The Death of Abel.'"

 The Usher took six hasty strides,
 As smit with sudden pain, --
 Six hasty strides beyond the place,
 Then slowly back again;
 And down he sat beside the lad,
 And talked with him of Cain;

 And, long since then, of bloody men,
 Whose deeds tradition saves;
 Of lonely folks cut off unseen,
 And hid in sudden graves;
 Of horrid stabs, in groves forlorn,
 And murders done in caves;

 And how the sprites of injured men
 Shriek upward from the sod. --
 Ay, how the ghostly hand will point
 To show the burial clod:
 And unknown facts of guilty acts
 Are seen in dreams from God!

 He told how murderers walk the earth
 Beneath the curse of Cain, --
 With crimson clouds before their eyes,
 And flames about their brain:
 For blood has left upon their souls
 Its everlasting stain!

 "And well," quoth he, "I know for truth,
 Their pangs must be extreme, --
 Woe, woe, unutterable woe, --
 Who spill life's sacred stream!
 For why, Methought last night I wrought
 A murder, in a dream!

 One that had never done me wrong --
 A feeble man and old;
 I led him to a lonely field,
 The moon shone clear and cold:
 Now here, said I, this man shall die,
 And I will have his gold!

 "Two sudden blows with a ragged stick,
 And one with a heavy stone,
 One hurried gash with a hasty knife, --
 And then the deed was done:
 There was nothing lying at my foot
 But lifeless flesh and bone!

 "Nothing but lifeless flesh and bone,
 That could not do me ill;
 And yet I feared him all the more,
 For lying there so still:
 There was a manhood in his look,
 That murder could not kill!"

 "And lo! the universal air
 Seemed lit with ghastly flame;
 Ten thousand thousand dreadful eyes
 Were looking down in blame:
 I took the dead man by his hand,
 And called upon his name!

 "O God! it made me quake to see
 Such sense within the slain!
 But when I touched the lifeless clay,
 The blood gushed out amain!
 For every clot, a burning spot
 Was scorching in my brain!

 "My head was like an ardent coal,
 My heart as solid ice;
 My wretched, wretched soul, I knew,
 Was at the Devil's price:
 A dozen times I groaned: the dead
 Had never groaned but twice!

 "And now, from forth the frowning sky,
 From the Heaven's topmost height,
 I heard a voice -- the awful voice
 Of the blood-avenging sprite --
 'Thou guilty man! take up thy dead
 And hide it from my sight!'

 "I took the dreary body up,
 And cast it in a stream, --
 A sluggish water, black as ink,
 The depth was so extreme:
 My gentle boy, remember this
 Is nothing but a dream!

 "Down went the corse with a hollow plunge,
 And vanished in the pool;
 Anon I cleansed my bloody hands,
 And washed my forehead cool,
 And sat among the urchins young,
 That evening in the school.

 "Oh, Heaven! to think of their white souls,
 And mine so black and grim!
 I could not share in childish prayer,
 Nor join in Evening Hymn:
 Like a Devil of the Pit I seemed,
 'Mid holy Cherubim!

 "And peace went with them, one and all,
 And each calm pillow spread;
 But Guilt was my grim Chamberlain
 That lighted me to bed;
 And drew my midnight curtains round
 With fingers bloody red!

 "All night I lay in agony,
 In anguish dark and deep,
 My fevered eyes I dared not close,
 But stared aghast at Sleep:
 For Sin had rendered unto her
 The keys of Hell to keep!

 "All night I lay in agony,
 From weary chime to chime,
 With one besetting horrid hint,
 That racked me all the time;
 A mighty yearning, like the first
 Fierce impulse unto crime!

 "One stern, tyrannic thought, that made
 All other thoughts its slave;
 Stronger and stronger every pulse
 Did that temptation crave, --
 Still urging me to go and see
 The Dead Man in his grave!

 "Heavily I rose up, as soon
 As light was in the sky,
 And sought the black accursèd pool
 With a wild misgiving eye:
 And I saw the Dead in the river-bed,
 For the faithless stream was dry.

 "Merrily rose the lark, and shook
 The dewdrop from its wing;
 But I never marked its morning flight,
 I never heard it sing:
 For I was stooping once again
 Under the horrid thing.

 "With breathless speed, like a soul in chase,
 I took him up and ran;
 There was no time to dig a grave
 Before the day began:
 In a lonesome wood, with heaps of leaves,
 I hid the murdered man!

 "And all that day I read in school,
 But my thought was otherwhere;
 As soon as the midday task was done,
 In secret I went there:
 And a mighty wind had swept the leaves,
 And still the corpse was bare!

 "Then down I cast me on my face,
 And first began to weep,
 For I knew my secret then was one
 That earth refused to keep:
 Or land, or sea, though he should be
 Ten thousand fathoms deep.

 "So wills the fierce avenging Sprite,
 Till blood for blood atones!
 Ay, though he's buried in a cave,
 And trodden down with stones,
 And years have rotted off his flesh, --
 The world shall see his bones!

 "Oh God! that horrid, horrid dream
 Besets me now awake!
 Again--again, with dizzy brain,
 The human life I take:
 And my red right hand grows raging hot,
 Like Cranmer's at the stake.

 "And still no peace for the restless clay,
 Will wave or mould allow;
 The horrid thing pursues my soul --
 It stands before me now!"
 The fearful Boy looked up, and saw
 Huge drops upon his brow.

 That very night while gentle sleep
 The urchin's eyelids kissed,
 Two stern-faced men set out from Lynn,
 Through the cold and heavy mist;
 And Eugene Aram walked between,
 With gyves upon his wrist.
-- Thomas Hood
Notes:

  Aram, Eugene (1704-59), English philologist, b. Yorkshire.
  A self-taught linguist, Aram was the first to identify the Celtic
  languages as related to the other languages of Europe. In 1758, while at
  work on an Anglo-Celtic lexicon, he was arrested and later hanged for the
  murder 14 years earlier of his friend Daniel Clark. The story of his
  crime inspired Thomas Hood's poem The Dream of Eugene Aram, and
  Bulwer-Lytton's novel Eugene Aram.

A long poem, but a delightful one. Having the protagonist cast his
confession in the form of a dream was an inspired decision, and fits well
the slightly fevered tone of the poem, as does his catching hold of the
fearful boy in a manner reminiscent of Coleridge's 'Ancient Mariner'.

'Eugene Aram' is definitely my favourite among the poems run in this week's
theme - with its gripping story, clever framing device and effortless
execution it certainly deserves a place in any list of great narrative
poems. And it is surely not Hood's fault that the poem's atmosphere of
solemn eeriness was somewhat spoilt for me by a chance resemblance to 'The
Walrus and the Carpenter', any more than it is Dickinson's fault that people
keep trying to sing her poems to The Yellow Rose of Texas <g>.

Links:

  For the full and fascinating story of Eugene Aram, see
    [broken link] http://www.law.utexas.edu/lpop/etext/newgate3/aram.htm

  Biography of Hood:
    poem #251

  We've run several Hood poems on minstrels:
    Poem #251 No!
    Poem #512 Silence
    Poem #672 Death

Theme:

  For some reason, Wooster could never quite remember Eugene Aram's name -
  he quotes it "and tumty tumty walked between with gyves upon his wrist"
  (someone please post the full quote).

  Here are some other poems that would have fitted into the theme (thanks to
  Thomas for helping round them up):
    Poem #12,  "On First Looking Into Chapman's Homer", John Keats
    Poem #133, "Song, from Pippa Passes", Robert Browning
    Poem #146, "Trees", Joyce Kilmer
    Poem #153, "Abou Ben Adhem", James Leigh Hunt
    Poem #316, "Ode to a Nightingale", John Keats

  And, for completeness' sake, the theme summary:
    Poem #715, "The Blessed Damozel", Dante Gabriel Rossetti
    Poem #717, "The Wreck of the Hesperus", Henry Wadsworth Longfellow
    Poem #718, "The Destruction of Sennacherib", George Gordon, Lord Byron
    Poem #719, "Loch Lomond", Lady John Scott
    Poem #720, "The Dream of Eugene Aram", Thomas Hood

  And some other Wodehouse-related poems
    Poem #353, "P. G. Wooster, Just as he Useter", Ogden Nash
    Poem #179, "Missed", P. G. Wodehouse
    Poem #408, "Caliban at Sunset", P. G. Wodehouse

  Also, Thomas beat me to the post with this one, but I'll repeat it anyway:
  There's a Wodehouse song collection at
    [broken link] http://people.netscape.com/thaths/wodehouse/
  "an attempt by the good folks at alt.fan.wodehouse to collect the text of
  all the songs that P.G.,Wodehouse makes cursory references to in his
  books"

martin

Death -- Thomas Hood

Guest poem sent in by Anustup Datta
(Poem #672) Death
 It is not death, that sometime in a sigh
 This eloquent breath shall take its speechless flight;
 That sometime these bright stars, that now reply
 In sunlight to the sun, shall set in night;
 That this warm conscious flesh shall perish quite,
 And all life's ruddy springs forget to flow;
 That thoughts shall cease, and the immortal sprite
 Be lapp'd in alien clay and laid below;
 It is not death to know this -- but to know
 That pious thoughts, which visit at new graves
 In tender pilgrimage, will cease to go
 So duly and so oft -- and when grass waves
 Over the pass'd-away, there may be then
 No resurrection in the minds of men.
-- Thomas Hood
           (1798-1845)

Found this gem while going through the Oxford Book of English Verse, edited
by Sir Arthur Quiller-Couch (Q to you <g>). Have not read Hood before in any
depth, but this sonnet appeared to me a really polished example of poetic
craftsmanship - not an image or a word out of place, and a wonderfully
strong metre. Death is a melancholy reflection of how the inexorable passage
of time dulls human memory - dying is complete when there is "No
resurrection in the minds of men." This could be a companion piece to
Silence, another Hood sonnet done earlier on Minstrels (Poem #513).

Regards,
Anustup

Silence -- Thomas Hood

Inspired by my previous poem...
(Poem #512) Silence
 There is a silence where hath been no sound,
 There is a silence where no sound may be,
 In the cold grave--under the deep, deep, sea,
 Or in wide desert where no life is found,
 Which hath been mute, and still must sleep profound;
 No voice is hushed--no life treads silently,
 But clouds and cloudy shadows wander free,
 That never spoke, over the idle ground:
 But in green ruins, in the desolate walls
 Of antique palaces, where Man hath been,
 Though the dun fox, or wild hyena, calls,
 And owls, that flit continually between,
 Shriek to the echo, and the low winds moan,
 There the true Silence is, self-conscious and alone.
-- Thomas Hood
Today's sonnet is built around an intriguing conceit - that there are two
kinds of silence, that where life has never been, and that which flows back
after man has come and gone.

A beautiful conceit, and beautifully developed - there's not a whole lot it
needs said about it. The use of 'self-conscious' at the end is unusual,
though - while I'm not sure what Hood intended by it, I personally lean
towards 'self-aware', rather than the more modern usage.

Links:

We've run one Hood poem, which includes a biography - see poem #251

-martin

No! -- Thomas Hood

One demisemikilopoem and counting...
(Poem #251) No!
 No sun--no moon!
 No morn--no noon!
 No dawn--no dusk--no proper time of day--
 No sky--no earthly view--
 No distance looking blue--
 No road--no street--no "t'other side this way"--
 No end to any Row--
 No indications where the Crescents go--
 No top to any steeple--
 No recognitions of familiar people--
 No courtesies for showing 'em--
 No knowing 'em!
 No traveling at all--no locomotion--
 No inkling of the way--no notion--
 "No go" by land or ocean--
 No mail--no post--
 No news from any foreign coast--
 No Park, no Ring, no afternoon gentility--
 No company--no nobility--
 No warmth, no cheerfulness, no healthful ease,
 No comfortable feel in any member--
 No shade, no shine, no butterflies, no bees,
 No fruits, no flowers, no leaves, no birds--
 November!
-- Thomas Hood
My first introduction to Hood was the rather weak and sentimental poem "I
remember, I remember"[1], a poem of the sort that children's anthologists
love to include, but which put me off Hood for quite a while. And that was
truly a shame, for it was in no way representative of his work, which
includes several noteworthy poems - including today's little gem.

Unlike most of Hood's work, No! is not strongly metred - the rhythm is
discernible but irregular, the poem relying more on the end rhymes than the
metrical pattern for punctuation. This gives the poem a nice rambling feel,
and makes the last line work all the better - relying on wordplay to wrap up
a poem is slightly risky, but when it works it is nicely satisfying[2].

As an aside, Hood had a penchant for puns - the biography notes that 'He was
famous for his punning, which appears at times to be almost a reflex action,
serving as a defense against painful emotion' - his most famous line
probably being the one at the end of 'Faithless Sally Brown'; "They went and
told the sexton, and The sexton toll'd the bell."

[1] Unlikely to be run on Minstrels, but you can look it up at
<[broken link] http://geocities.com/~spanoudi/poems/hood01.html#1>

[2] for another nice example, see 'With a Book', poem #148

- m.

Biography and Assessment:

 b. May 23, 1799, London
 d. May 3, 1845, London

  English poet whose humanitarian verses, such as "The Song of the Shirt,"
  served as models for a whole school of social-protest poets, not only in
  Britain and the U.S. but in Germany and Russia, where he was widely
  translated. He also is notable as a writer of comic verse, having
  originated several durable forms for that genre.

  The son of a bookseller, Hood was apprenticed to an engraver as a young
  boy. In 1815 he was sent to Dundee for his health's sake (his lifelong
  illness is thought to have been rheumatic heart disease). On his return to
  London in 1817 he resumed work as an engraver and then became a "sort of
  sub-editor" of the London Magazine during its heyday, when its circle of
  brilliant contributors included Charles Lamb, Thomas De Quincey, and
  William Hazlitt. In 1827 he published a volume of poems strongly
  influenced by Keats, The Plea of the Midsummer Fairies. Several of the
  poems in it suggest that Hood might possibly have become a poet of the
  first rank. However, the success of his amusing Odes and Addresses to
  Great People (1825), written in collaboration with his brother-in-law,
  J.H. Reynolds, virtually obliged him to concentrate on humorous writing
  for the rest of his life. There is something sinister about Hood's sense
  of humour, a trait that was to reappear in the "black comedy" of the
  latter 20th century. His pages are thronged with comic mourners and
  undertakers, and a corpse is always good for a laugh. He was famous for
  his punning, which appears at times to be almost a reflex action, serving
  as a defense against painful emotion. Of his later poems, the grim ballads
  "The Dream of Eugene Aram, the Murderer" and "The Last Man," "The Song of
  the Shirt," "The Lay of the Labourer," and "The Bridge of Sighs" are
  moving protests against social evils of the day--sweated labour,
  unemployment, and the double sexual standard.

        -- E.B.