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Channel Firing -- Thomas Hardy

Armistice Day guest poem sent in by Reed C Bowman

[We received this a little too late to run it for the 11th, but I felt it
was worth posting anyway - martin]
(Poem #939) Channel Firing
 That night your great guns, unawares,
 Shook all our coffins as we lay,
 And broke the chancel window-squares,
 We thought it was the Judgment-day

 And sat upright. While drearisome
 Arose the howl of wakened hounds:
 The mouse let fall the altar-crumb,
 The worms drew back into the mounds,

 The glebe cow drooled. Till God called, "No;
 It's gunnery practice out at sea
 Just as before you went below;
 The world is as it used to be:

 "All nations striving strong to make
 Red war yet redder. Mad as hatters
 They do no more for Christés sake
 Than you who are helpless in such matters.

 "That this is not the judgment-hour
 For some of them's a blessed thing,
 For if it were they'd have to scour
 Hell's floor for so much threatening ....

 "Ha, ha. It will be warmer when
 I blow the trumpet (if indeed
 I ever do; for you are men,
 And rest eternal sorely need)."

 So down we lay again. "I wonder,
 Will the world ever saner be,"
 Said one, "than when He sent us under
 In our indifferent century!"

 And many a skeleton shook his head.
 "Instead of preaching forty year,"
 My neighbour Parson Thirdly said,
 "I wish I had stuck to pipes and beer."

 Again the guns disturbed the hour,
 Roaring their readiness to avenge,
 As far inland as Stourton Tower,
 And Camelot, and starlit Stonehenge.
-- Thomas Hardy
           (April 1914)

[notes:
I got this text from http://www.library.utoronto.ca/utel/rp/poems/hardy7.html
They provide these explanations (among others):
  glebe cow: cow put out to pasture on church land for the vicar
  Stourton Tower: in Wiltshire, a tower built to honour Alfred the Great's
    victory over the Danes
]

This poem was written in April 1914, and beautifully expresses the
feeling of gloomy foreboding that some, at least, felt in the months
before the First World War. Though it's relieved by some oddly light
touches, in a time when across Europe huge masses, especially among the
young men, were looking forward to the war all knew was coming, Hardy
injects a recollection of  what war was to those who fought and died in
bygone years under the thunder of other guns, and how much worse it
might be this time. Probably at the time only by describing the unquiet
of the honored dead at the sound of more guns could a message of gloom
and hesitation be heard. Hardy (1840-1928) was old enough in 1914 to
have perspective on this, was fully adult for the news of the last big
European war in 1870, and in his youth might easily have met or seen
veterans of the Napoleonic wars. I don't know if the gunfire of the land
forces of the Franco-Prussian War was ever heard across the Channel, as
most certainly the guns of the Great War would be in coming months and
years, but big guns by night communicate their threat effectively  both
to the young abed in England who've never heard them, and to the future
enemies and allies listening upon the continent.

The poem effectively evokes the broken quiet of a country churchyard on
a dark night. I was going to say it also effectively described the
bleak, menacing sound of distant naval gunfire coming far over the water
and inland by night, but on rereading it I was surprised to find there's
no description of the sound at all - that is supplied by my own
recollection (as in this poem, it is only the Navy's practice firing
that I've ever heard) and by the description of the reaction of the
nocturnal beasts and the buried dead. But that reaction does clearly
call up the way you feel the gunnery in your spine and muscles, and the
way your body responds to the urgency of its threat, however distant.

The last stanza, taken out of context, or with only a vague reading of
the rest of the poem, might seem like an affirmation that the guns were
being trusted in as guardians, "Roaring their readiness to _avenge_,"
but the fifth stanza shatters this illusion. Having already said the
nations are "striving strong to make/Red war yet redder", he condemns
the threatening fire of the gunnery practice just offshore (where the
Continental powers are sure to hear as well), going so far as to put
words in God's mouth saying that Hell awaits the warriors for their
threatening.

Overall this is a good poem to remind people, in time of slowly igniting
war, that the last time a war was begun to put an end to war and punish
warmongers it merely ushered in a new century of bloodier conflicts than
any in history. Now it is the dead of that same (the twentieth) century's
wars that may stir at the rise of a new century's same old war, and
wonder if their descendents for whose future and way of life they fought
will ever live in a saner world than theirs.

RCB

Links:

  Biography: See Poem #96

  Thomas Hardy on Minstrels:
    [broken link] http://www.cs.rice.edu/~ssiyer/minstrels/index_poet_3.html

Everything Changes -- Cicely Herbert

       
(Poem #938) Everything Changes
        after Brecht, 'Alles wandelt sich'

 Everything changes. We plant
 trees for those born later
 but what's happened has happened,
 and poisons poured into the seas
 cannot be drained out again.

 What's happened has happened
 poisons poured into the seas
 cannot be drained out again, but
 everything changes. We plant
 trees for those born later.
-- Cicely Herbert
 A gem of a poem, clever without being pretentious, sincere without being
sentimental, and quietly optimistic without being irritatingly warm and
fuzzy. It's that last point which matters most to me, I suppose: heaven
knows the world could do with a bit more optimism, yet there are times when
I have nothing but impatience for the way people cheapen even this simple
emotion. Optimism is not the mindless repetition of twee platitudes. It is
not the blind rejection of the perversity of the world, or the unthinking
refusal to accept that "the best laid plans o' mice an' men / gang aft
a-gley". It is not a creation of that most insidious of beasts, political
correctness. No, it's something much deeper - it's a taking up of the
challenge of life, the joy and the terror, the laughter and the tears. It's
a way of accepting the world, and coming to face with it on equal terms.
It's a philosophy of life, and let's be thankful that we have poets like Ms
Herbert to remind us of this fact.

thomas.

[Sort of Biography and Stuff]

 Of Cicely Herbert I know nothing, except the fact that she was one of the
three people behind 'Poems on the Underground'. Here are her own words on
the subject:

 "When we began to scatter poems about in public, we had so idea how people
would respond; it was all a bit reminiscent of the lovesick youth in the
Forest of Arden, hanging "odes upon hawthorns and elegies on brambles". Not
that the London Underground is anything like the Forest of Arden; on the
contrary, it is the ultimate expression of the modern urban working world.
But poetry thrives on paradox, and the poems seemed to take on new and
surprising life when they were removed from books and set amongst the
adverts. Commuters enjoyed the idea of reading Keats' "Much have I travell'd
in the realms of gold" on a crowded Central Line train, or trying to
memorise a sonnet between Leicester Square and Hammersmith. Just as we had
hoped, the poems provided relief, caused smiles, offered refreshment to the
soul -- and all in a place where one would least expect to find anything
remotely poetic."

 -- Gerard Benson, Judith Chernaik, Cicely Herbert
 -- Introduction to "Poems on the Underground (print anthology)"

 The back cover of the book has this potted biography:

 "Cicely Herbert is a writer, a member of the Barrow Poets, and an adult
education teacher. She has written several performance pieces with music by
Jim Parker. These include, for BBC TW, "Petticoat Lane", and two concert
pieces commissioned by the Nash Ensemble, "Scenes from Victorian London" and
"La Comedie Humaine". Her poetry includes "In Hospital", 1992."

 -- "Poems on the Underground (print anthology)"

[Minstrels Links]

Yes, poetry can be wonderfully uplifting. Read the following:
Poem #177, Where The Mind is Without Fear  -- Rabindranath Tagore
Poem #218, Psalm 23  -- David
Poem #337, Jimmy Giuffre Plays 'The Easy Way'  -- Adrian Mitchell
Poem #392, Good  -- R. S. Thomas
Poem #874, Sometimes -- Sheenagh Pugh
Poem #103, Jenny Kissed Me  -- James Leigh Hunt
Poem #14, Prologue  -- Dylan Thomas

Incidentally, the Burns quote I used above is from
Poem #776, To A Mouse -- Robert Burns

The Look -- Sara Teasdale

       
(Poem #937) The Look
 Strephon kissed me in the spring,
   Robin in the fall,
 But Colin only looked at me
   And never kissed at all.

 Strephon's kiss was lost in jest,
   Robin's lost in play,
 But the kiss in Colin's eyes
   Haunts me night and day.
-- Sara Teasdale
A delicately beautiful little poem - I love both the central image, and the
light, sure touch with which Teasdale develops it. And, as usual with
Teasdale's poetry, the combination of quietness and power, both masked by an
apparent simplicity, is nothing short of impressive.

There is, however (and unusually enough that I wonder if I'm misscanning the
poem), a slight roughness to the seventh line - I keep wanting to insert an
'oh,' after the 'but' to restore the regular iambic pattern. Comments?

Links:

 Biography: See Poem #113

 Teasdale poems on Minstrels:
   Poem #464, "Central Park at Dusk"
   Poem #113, "Morning"
   Poem #223, "There Will Come Soft Rains"
   Poem #430, "Wild Asters"

-martin

Since there's no help, come let us kiss and part (Idea: LXI) -- Michael Drayton

       
(Poem #936) Since there's no help, come let us kiss and part (Idea: LXI)
 Since there's no help, come let us kiss and part,
 Nay, I have done: you get no more of me,
 And I am glad, yea glad with all my heart,
 That thus so cleanly I myself can free.
 Shake hands for ever, cancel all our vows,
 And when we meet at any time again
 Be it not seen in either of our brows
 That we one jot of former love retain.
 Now at the last gasp of Love's latest breath,
 When his pulse failing, Passion speechless lies,
 When Faith is kneeling by his bed of death,
 And Innocence is closing up his eyes,
    Now, if thou wouldst, when all have given him over,
    From death to life thou might'st him yet recover.
-- Michael Drayton
 Source: the "Idea" sonnets, LXI (published 1619; date of composition
unknown).
 Form: Shakespearean sonnet.
 Metre: 14 lines of iambic pentameter.
 Rhyme: ababcdcd efefgg.

   Like "Citizen Kane", or "Pet Sounds", today's poem springs from a happy
confluence of time, chance and circumstance. Masterpieces like this are not
written every day, nor even every decade; the alignment of planets that
produced today's sonnet is nothing short of miraculous. Witness: without
this poem, Michael Drayton would be just another obscure Renaissance poet,
of interest only to academics and enthusiasts. With its writing, however,
his immortality was assured. "Since there's no help" is the peer of anything
Shakespeare ever wrote; indeed, the peer of any sonnet ever written.

   The poem is magnificent. The phrasing is perfect, evenly balanced between
sincere simplicity and high-flown rhetoric. The same effortless balance
extends to the subject material, which bridges the personifications and
apostrophes of the Pastoral with the passion and directness of Elizabethan
love poetry. There's even a hint of the Metaphysicals in the elaboration of
one theme (the deaths of Love, Passion, Faith and Innocence) and its
subsequent (almost paradoxical) inversion in the couplet [1].

thomas.

[1] This inversion reminds me of Millay's wonderful sonnet "Love Is Not
All", Minstrels Poem #860.

[Links]
  There's a Michael Drayton biography at Luminarium:
  http://www.luminarium.org/renlit/draybio.htm

[Assessment]

   The only other Elizabethan of high poetic rank, apart from Shakespeare,
who prominently associated himself with the sonneteering movement, was
Michael Drayton. In one effort, Drayton reached the highest level of poetic
feeling and expression. His familiar quatorzain opening "Since there 's no
help, come let us kiss and part" is the one sonnet by a contemporary which
deserves to rank with some of Shakespeare's best. It is curious to note that
Drayton's triumphant poem was first printed in 1619, just a quarter of a
century after he first sought the suffrages of the Elizabethan public as a
sonneteer. The editio princeps of his sonnet-sequence, called Ideas Mirrour:
Amours in Quatorzains, included fifty-two sonnets, and was reprinted no less
than eight times, with much revision, omission and addition, before the
final version came forth in 1619.
   Drayton's sonneteering labours constitute a microcosm of the whole
sonneteering movement in Elizabethan England. He borrows ideas and speech
from all available sources at home and abroad. Yet, like many contemporary
offenders, he deprecates the charge that he is "a thief" of the "wit" of
Petrarch or Desportes. With equal vigour of language he disclaims
pretensions to tell the story of his own heart:
     Into these loves who but for passion looks:
     At this first sight, here let him lay them by!
     And seek elsewhere in turning other books,
     Which better may his labour satisfy.
   For the most part, Drayton is a sonneteer on the normal Elizabethan
pattern, and his sonnets are rarely distinguished by poetic elevation.
Occasionally, a thin rivulet of natural sentiment winds its way through the
fantastic conceits which his wide reading suggests to him. But only in his
famous sonnet did his genius find in that poetic form full scope.

        -- Sidney Lee, "The Cambridge History of English and American
Literature"
        http://www.bartleby.com/213/1212.html

[Links]
  Lemuel Whitaker, "The Sonnets of Michael Drayton"
  http://www.luminarium.org/renlit/whitaker.htm

[Minstrels Links]

William Shakespeare's sonnets:
Poem #44, My Mistress' Eyes are Nothing Like the Sun (Sonnets CXXX)
Poem #71, Shall I Compare Thee to a Summer's Day? (Sonnets XVIII)
Poem #219, Full many a glorious morning have I seen (Sonnets XXXIII)
Poem #363, Let me not to the marriage of true minds (Sonnet CXVI)
Poem #808, Not From The Stars Do I My Judgment Pluck (Sonnets XIV)

Works by other Renaissance poets:
Poem #565, Now Winter Nights Enlarge -- Thomas Campion
Poem #328, from The Faerie Queen  -- Edmund Spenser
Poem #75, The face that launch'd a thousand ships  -- Christopher Marlowe
Poem #506, Lament for Zenocrate  -- Christopher Marlowe

An excellent web resource: http://www.luminarium.org/renlit

The Lobster Quadrille -- Lewis Carroll

       
(Poem #935) The Lobster Quadrille
 "Will you walk a little faster?" said a whiting to a snail.
 "There's a porpoise close behind us, and he's treading on my tail.
 See how eagerly the lobsters and the turtles all advance!
 They are waiting on the shingle - will you come and join the dance?
   Will you, won't you, will you, won't you, will you join the dance?
   Will you, won't you, will you, won't you, won't you join the dance?

 "You can really have no notion how delightful it will be
 When they take us up and throw us, with the lobsters, out to sea!"
 But the snail replied "Too far, too far!" and gave a look askance -
 Said he thanked the whiting kindly, but he would not join the dance.
   Would not, could not, would not, could not, would not join the dance.
   Would not, could not, would not, could not, could not join the dance.

 "What matters it how far we go?" his scaly friend replied.
 "There is another shore, you know, upon the other side.
 The further off from England the nearer is to France -
 Then turn not pale, beloved snail, but come and join the dance.
   Will you, won't you, will you, won't you, will you join the dance?
   Will you, won't you, will you, won't you, won't you join the dance?"
-- Lewis Carroll
Note: A parody of Mary Howitt's "The Spider and the Fly"

Today's poem is another of those wonderful pieces that practically sing
themselves. Of course, this is due in part to the fact that Howitt's
original has picked up an associated melody that naturally attaches itself
to Carroll's parody too, but even without taking that into consideration,
Caroll's words and rhythms have a musicality that far improves upon "The
Spider and the Fly".

The poem is also a lovely example of Carroll's rather whimsical sense of
humour - the images are not just funny but delightfully individual. Less
clear is why he picked on Howitt - most of the other parodies in Alice
target poems that by their sheer sententiousness are 'asking for it'.
Perhaps it was Howitt's annoying addition of a moral to the tale, or
perhaps, for once, he just liked the rhythm of the piece :)

Links:

  Biography: [broken link] http://65.107.211.206/victorian/carroll/carrollbio.html

  "The Spider and the Fly": http://ingeb.org/songs/thespide.html

  A list of Carroll's parodies (incomplete - today's poem is one of the
  omissions):
    [broken link] http://home.earthlink.net/~lfdean/carroll/parody/

  The Poets' Corner parody index:
    [broken link] http://www.geocities.com/~spanoudi/poems/SubjIdx/parodies.html

  Carroll on Minstrels:
    Poem #52, "Jabberwocky"
    Poem #265, "The Mad Gardener's Song"
    Poem #347, "The Walrus and the Carpenter"
    Poem #409, "Poeta Fit, Non Nascitur"
    Poem #600, "The Mouse's Tale"

-martin