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The Day is Done -- Henry Wadsworth Longfellow

       
(Poem #884) The Day is Done
 The day is done, and the darkness
 Falls from the wings of Night,
 As a feather is wafted downward
 From an eagle in his flight.

 I see the lights of the village
 Gleam through the rain and the mist,
 And a feeling of sadness comes o'er me
 That my soul cannot resist:

 A feeling of sadness and longing,
 That is not akin to pain,
 And resembles sorrow only
 As the mist resembles the rain.

 Come, read to me some poem,
 Some simple and heartfelt lay,
 That shall soothe this restless feeling,
 And banish the thoughts of day.

 Not from the grand old masters,
 Not from the bards sublime,
 Whose distant footsteps echo
 Through the corridors of Time,

 For, like strains of martial music,
 Their mighty thoughts suggest
 Life's endless toil and endeavor;
 And tonight I long for rest.

 Read from some humbler poet,
 Whose songs gushed from his heart,
 As showers from the clouds of summer,
 Or tears from the eyelids start;

 Who, through long days of labor,
 And nights devoid of ease,
 Still heard in his soul the music
 Of wonderful melodies.

 Such songs have a power to quiet
 The restless pulse of care,
 And comes like the benediction
 That follows after prayer.

 Then read from the treasured volume
 The poem of thy choice,
 And lend to the rhyme of the poet
 The beauty of thy voice.

 And the night shall be filled with music,
 And the cares, that infest the day,
 Shall fold their tents, like the Arabs,
 And as silently steal away.
-- Henry Wadsworth Longfellow
Longfellow's another poet I have found myself reading increasingly of late -
there is something both soothing and satisfyingly right about his choice of
words and images. The soothing aspect stems, I think, mainly from his easy
acceptance of timeworn themes, his refusal to be startling for the mere sake
of being startling. This is not, however, to suggest that his poetry is
cliched - like all the great poets, Longfellow can take an old idea, shape
and polish it until it glows softly and then fit it seamlessly into the
larger pattern of a poem.

Today's poem is an excellent illustration. The first verse is about as
timeworn an image as one can ask for, but handled with a quiet assurance
that saves it from triteness. The rest of the poem develops as quietly,
laying down its images of rest and peace, interspersed with some beautiful
images like

          A feeling of sadness and longing,
          That is not akin to pain,
          And resembles sorrow only
          As the mist resembles the rain.

and the whole, despite the occasional faltering step, *works* - the verses
build up in a hypnotic rhythm that does indeed 'have a power to quiet the
restless pulse of care'.

I will admit, though, that poems like this one require a certain suspension
of criticism on the part of the reader. Longfellow's use of both language
and imagery is deliberate rather than subtle, and to balk at the obviousness
and refuse to be led is to lose the point of the poem. Rather, the reader
has to be willing to immerse himself in the poem, and ignore the occasional
hiccup for the sake of the overall effect.

Afterthought: The last verse of the poem qualifies it for the Bertie Wooster
theme we ran a while back - see poem #720 for the theme summary.

-martin

Personal Helicon -- Seamus Heaney

Our apologies for the irregular service over the last few days; both Martin
and myself have been rather busy with the Real World.
(Poem #883) Personal Helicon
 As a child, they could not keep me from wells
 And old pumps with buckets and windlasses.
 I loved the dark drop, the trapped sky, the smells
 Of waterweed, fungus and dank moss.

 One, in a brickyard, with a rotted board top.
 I savoured the rich crash when a bucket
 Plummeted down at the end of a rope.
 So deep you saw no reflection in it.

 A shallow one under a dry stone ditch
 Fructified like any aquarium.
 When you dragged out long roots from the soft mulch
 A white face hovered over the bottom.

 Others had echoes, gave back your own call
 With a clean new music in it. And one
 Was scaresome, for there, out of ferns and tall
 Foxgloves, a rat slapped across my reflection.

 Now, to pry into roots, to finger slime,
 To stare, big-eyed Narcissus, into some spring
 Is beneath all adult dignity. I rhyme
 To see myself, to set the darkness echoing.
-- Seamus Heaney
[Notes]

"Personal Helicon" first appeared in "Eleven Poems", published in 1965.
The poem is dedicated to Michael Longley, a contemporary of Heaney's at
Philip Hobsbaum's poetry workshop in Belfast.
Mt. Helicon in Greece is said to be the home of the Muses, nine sister
goddesses in Greek mythology presiding over song and poetry and the arts and
sciences.

[Commentary]

Seamus Heaney has always been fascinated with the earth, with the quality of
earthiness. His poems are invariably dense and muddy, clumps of murky
adjectives and plodding nouns pulling the reader into a world full of 'the
smells / Of waterweed, fungus and dank moss'. Even his titles reflect this
preoccupation, from "Bogland" (the very first poem in his very first
collection), to his justly celebrated (if somewhat unsettling) masterpiece,
"Death of a Naturalist".

Unfortunately, this predilection is not a very fashionable one - indeed, I
can't help but shudder at some of the imagery in "Naturalist" - which is
perhaps why Heaney chose to expand on it in today's poem. As the title makes
clear, this is a poem about poetic inspiration: Heaney's Muse is a gritty,
plodding, deliberate creature, more Caliban than Ariel. A perfectly
legitimate choice (if it can be called a choice at all), and one which sets
his poetry apart, and gives it distinction.

[Links]

[broken link] http://www.ibiblio.org/ipa/heaney/heaney.bio.html is a biography which
delves quite deeply into Heaney's themes and poetic development; here's an
extract which talks about today's poem:

"Heaney is here presenting his own source of inspiration, the 'dark drop'
into personal and cultural memory, made present by the depths of the wells
of his childhood. Now, as a man, he is too mature to scramble about on hands
and knees, looking into the deep places of the earth, but he has his poetry.
This serves as his glimpse into places where 'there is no reflection', but
only the sound of a rhyme, like a bucket, setting 'the darkness echoing'. "
        -- [broken link] http://www.ibiblio.org/ipa/heaney/heaney.bio.html

Surprisingly for a poet of his stature, Heaney has featured only once on the
Minstrels. The lovely "Song" can be read at poem #61, along with the EB
bio, critical assessment, and some external links.

thomas.

Wind -- Ted Hughes

       
(Poem #882) Wind
 This house has been far out at sea all night,
 The woods crashing through darkness, the booming hills,
 Winds stampeding the fields under the window
 Floundering black astride and blinding wet

 Till day rose; then under an orange sky
 The hills had new places, and wind wielded
 Blade-light, luminous black and emerald,
 Flexing like the lens of a mad eye.

 At noon I scaled along the house-side as far as
 The coal-house door. Once I looked up --
 Through the brunt wind that dented the balls of my eyes
 The tent of the hills drummed and strained its guyrope,

 The fields quivering, the skyline a grimace,
 At any second to bang and vanish with a flap;
 The wind flung a magpie away and a black-
 Back gull bent like an iron bar slowly. The house

 Rang like some fine green goblet in the note
 That any second would shatter it. Now deep
 In chairs, in front of the great fire, we grip
 Our hearts and cannot entertain book, thought,

 Or each other. We watch the fire blazing,
 And feel the roots of the house move, but sit on,
 Seeing the window tremble to come in,
 Hearing the stones cry out under the horizons.
-- Ted Hughes
 From the arresting opening image of a farmhouse being tossed about like a
ship in a storm, right through to the tense, not-quite-resolved ending, this
is a breathtakingly vivid poem. Hughes captures the power of the wind in
phrases that ring with an elemental fury of their own, a wild and
unquenchable energy. This effect is enhanced by his choice of words: 'brunt'
is only the most obvious example of his eschewing pretty Latinate constructs
for gritty Germanic equivalents. Indeed, the ancestry of this poem is very
clear: "Wind" belongs to the tradition of Icelandic sagas and Norse
mythology, poems which celebrate, with a mixture of awe and dread, the
unimaginable power of Nature and the insignificance of Man.

thomas.

[Minstrels Links]

Ted Hughes:
Poem #42, Hawk Roosting
Poem #98, The Thought Fox
Poem #417, Thistles
Poem #671, Lineage
Poem #723, Full Moon and Little Frieda
Poem #768, Theology

Sylvia Plath:
Poem #53, Winter landscape, with rocks
Poem #129, Ariel
Poem #366, Child
Poem #404, Daddy
Poem #612, Love Letter
Poem #678, Mirror
Poem #881, The Moon and the Yew-tree

Others:
Poem #109, The Viking Terror  -- Anon. (Irish, 9th century)
Poem #145, Ice  -- Anon. (Old English, 10th century)
Poem #326, The Seafarer  -- Anon. (Old English, pre-10th century

The Moon and the Yew tree -- Sylvia Plath

Guest poem submitted by Aseem Kaul:
(Poem #881) The Moon and the Yew tree
 "This is the light of the mind, cold and planetary.
 The trees of the mind are black. The light is blue.
 The grasses unload their griefs at my feet as if I were God,
 Prickling my ankles and murmuring of their humility.
 Fumy spiritious mists inhabit this place
 Separated from my house by a row of headstones.
 I simply cannot see where there is to get to.

 The moon is no door. It is a face in its own right,
 White as a knuckle and terribly upset.
 It drags the sea after it like a dark crime; it is quiet
 With the O-gape of complete despair. I live here.
 Twice on Sunday, the bells startle the sky -
 Eight great tongues affirming the Resurrection.
 At the end, they soberly bong out their names.

 The yew tree points up. It has a Gothic shape.
 The eyes lift after it and find the moon.
 The moon is my mother. She is not sweet like Mary.
 Her blue garments unloose small bats and owls.
 How I would like to believe in tenderness -
 The face of the effigy, gentled by candles,
 Bending, on me in particular, its mild eyes.

 I have fallen a long way. Clouds are flowering
 Blue and mystical over the face of the stars.
 Inside the church, the saints will be all blue,
 Floating on their delicate feet over cold pews,
 Their hands and faces stiff with holiness.
 The moon sees nothing of this. She is bald and wild.
 And the message of the yew tree is blackness - blackness and silence."
-- Sylvia Plath
Rilke wrote that "beauty is nothing but the beginning of terror" and I can't
think of any poet who exemplifies that more consistently than Plath. This
poem is a particular favourite of mine, combing a chilling evocation of
place, a plethora of unforgettable phrases ("the moon is no door") and that
dangerous balance between observation and introspection that Plath does
better than anyone else. If ever there was an imagery for despair, this is
it.

Aseem.

[Minstrels Links]

Sylvia Plath:
Poem #53, Winter landscape, with rocks
Poem #129, Ariel
Poem #366, Child
Poem #404, Daddy
Poem #612, Love Letter
Poem #678, Mirror

Rainer Maria Rilke:
Poem #136, The Panther
Poem #861, Spanish Dancer

The Sergeant's Weddin' -- Rudyard Kipling

       
(Poem #880) The Sergeant's Weddin'
 'E was warned agin' 'er --
  That's what made 'im look;
 She was warned agin' 'im --
  That is why she took.
 'Wouldn't 'ear no reason,
  'Went an' done it blind;
 We know all about 'em,
  They've got all to find!

     Cheer for the Sergeant's weddin' --
     Give 'em one cheer more!
     Grey gun-'orses in the lando,
     An' a rogue is married to, etc.

 What's the use o' tellin'
  'Arf the lot she's been?
 'E's a bloomin' robber,
  An' 'e keeps canteen.
 'Ow did 'e get 'is buggy?
  Gawd, you needn't ask!
 'Made 'is forty gallon
  Out of every cask!

 Watch 'im, with 'is 'air cut,
  Count us filin' by --
 Won't the Colonel praise 'is
  Pop -- u -- lar -- i -- ty!
 We 'ave scores to settle --
  Scores for more than beer;
 She's the girl to pay 'em --
  That is why we're 'ere!

 See the chaplain thinkin'?
  See the women smile?
 Twig the married winkin'
  As they take the aisle?
 Keep your side-arms quiet,
  Dressin' by the Band.
 Ho! You 'oly beggars,
  Cough be'ind your 'and!

 Now it's done an' over,
  'Ear the organ squeak,
 "'Voice that breathed o'er Eden" --
  Ain't she got the cheek!
 White an' laylock ribbons,
  Think yourself so fine!
 I'd pray Gawd to take yer
  'Fore I made yer mine!

 Escort to the kerridge,
  Wish 'im luck, the brute!
 Chuck the slippers after --
  [Pity 'tain't a boot!]
 Bowin' like a lady,
  Blushin' like a lad --
 'Oo would say to see 'em
  Both is rotten bad?

     Cheer for the Sergeant's weddin' --
      Give 'em one cheer more!
     Grey gun-'orses in the lando,
      An' a rogue is married to, etc.
-- Rudyard Kipling
Note: The "etc." in the chorus is pretty clearly "an 'ore"; I have no idea
why the bowdlerisation, which seems fairly uncharacteristic of Kipling.

Kipling has written the occasional dialect poem; like most such poems, there
is a certain tension between the fact that the dialect is an integral part
of the mood the poet wishes to convey, and the fact that it often gets in
the way of the poem, hindering rather than helping the reader. Of course,
like most Kipling, he's done a remarkably good job of it; the poem flows
smoothly, the dialect and the metre blending seamlessly.

It helps, of course, that the dialect is fairly easy to read; mostly the
dropped 'h's and the occasional altered spelling - really more an accent
than a dialect. And it *does* work here; the impression of a bunch of
jeering soldiers comes across far more clearly than it would have in cleaned
up, formal English.

Afterthought:

  Leslie Fish's musical setting changes 'rogue' to 'bastard' in the refrain;
given that it already requires one level of unbowdlerisation, this seems
rather appropriate.

Links:

  Kipling biography: poem #17

  "The Voice that Breathed O'er Eden":
    [broken link] http://www.acronet.net/~robokopp/english/voiceden.htm

  And, of course, all the Kipling poems we've run previously,
    [broken link] http://www.cs.rice.edu/~ssiyer/minstrels/index_poet.html

-martin