Poem: Pied Beauty

Following Times go by Turns by Robert Southwell last week, this week a poet greatly influenced by Southwell, and a fellow-Jesuit, Gerard Manley Hopkins (1844-1889).  One of Southwell’s syntactic innovations was repetition:  writing several nouns or phrases one after another, in order to add emphasis.  Hopkins does the same in Pied Beauty, another poem for this northern autumn season.

 
Glory be to God for dappled things—
For skies of couple-colour as a brinded cow;
For rose-moles all in stipple upon trout that swim;
Fresh-firecoal chestnut-falls; finches’ wings;
Landscape plotted and pieced—fold, fallow, and plough;
And áll trades, their gear and tackle and trim.
All things counter, original, spáre, strange;
Whatever is fickle, frecklèd (who knows how?)
With swíft, slów; sweet, sóur; adázzle, dím;
He fathers-forth whose beauty is pást change:
Práise hím.

 
The photo is by Rick Landry.

Poem: Times go by Turns

To acknowledge the great political change of the past week and to commemorate Guy Fawkes, here is a poem by an English Catholic martyr about the seasons of fate. Robert Southwell (c. 1561 – 1595) was an English Jesuit from an aristocratic family, whose mother had been a friend of Queen Elizabeth I. He left England illegally to study for the priesthood and returned – again illegally – to live and minister in secret to England’s oppressed Catholic population.  He was captured, tortured by Elizabeth’s sadistic religious police, subjected to a show trial, and publicly executed.
Southwell was a poet of fine sensitivity, and drew on his Jesuit spiritual training to become the first English poet to develop personation (or subjectivity), a psychologically-real description of the interior self.   His distant cousin William Shakespeare was to adopt this idea in his plays, so that (for example) we learn about Hamlet’s internal mental deliberations, not only about his public actions and conversations.
Whig literary historians, intent on asserting a Protestant identity for all of English life and culture, have mostly written Southwell out of the story of English literature, despite his key influence on the religious poets of the next century, such as John Donne. Living underground and on the run, Southwell wrote poetry for a community unable to obtain prayer books or to easily hear preachers: poetry was thus a substitute for sermons and for personal counselling, and a form of prayer and spiritual meditation. His poetry is also strongly visual.

Times Go By Turns
The lopped tree in time may grow again
Most naked plants renew both fruit and flower
The sorriest weight may find release of pain
The driest soil suck in some moistening shower
Times go by turns and chances change by course
From foul to fair from better happ to worse
The sea of fortune does not ever flow
She draws her favours to the lowest ebb
Her tide has equal times to come and go
Her loom does weave the fine and coarsest web
No joy so great but runneth to an end
No happ so hard but may in fine amend.
Not always fall of leaf nor ever spring
No endless night yet not eternal day
The saddest birds a season find to sing
The roughest storm a calm may soon allay
Thus with succeeding turns god tempers all
That man may hope to rise yet fear to fall
A Chance may win that by mis-chance was lost
The net that holds no great takes little fish
In some things all, in all things none are crossed
Few all they need but none have all they wish
Unmeddled joys here to no man befall
Who least has some who most has never all.

References:
Christopher Devlin [1956]: The Life of Robert Southwell: Poet and Martyr.  New York, NY, USA:  Farrar, Straus and Cudahy.
Robert Southwell [2007]:  Collected Poems. Edited by Peter Davidson and Anne Sweeney.  Manchester, UK:  Fyfield Books.
Anne R. Sweeney [2006]: Robert Southwell: Snow in Arcadia:  Redrawing the English Lyric Landscape 1586-1595. Manchester, UK:  Manchester University Press.
(Note:  I have modernised the spelling where sensible to do so.)

Poem: Vides ut alta

Horace’s Ode I:IX, Vides ut alta (translated by David West), was inspired by Mount Soracte (aka Soratte), in the Tiber Valley, north of Rome, and pictured here.  Carpe diem is the theme.

You see Soracte standing white and deep
with snow, the woods in trouble, hardly able
to carry their burden, and the rivers
halted by sharp ice.
Thaw out the cold. Pile up the logs
on the hearth and be more generous, Thaliarchus,
as you draw the four-year-old Sabine
from its two-eared cask.
Leave everything else to the gods. As soon as
they still the winds battling it out
on the boiling sea, the cypresses stop waving
and the old ash trees.
Don’t ask what will happen tomorrow.
Whatever day Fortune gives you, enter it
as profit, and don’t look down on love
and dancing while you’re still a lad,
while the gloomy grey keeps away from the green.
Now is the time for the Campus and the squares
and soft sighs at the time arranged
as darkness falls.
Now is the time for the lovely laugh from the secret corner
giving away the girl in her hiding-place,
and for the token snatched from her arm
or finger feebly resisting.

Reference:

Horace [1997 AD/23 BCE]: The Complete Odes and Epodes. Translation by David West. Oxford, UK: Oxford University Press.
Note: The opening of this poem was recited (in Latin) in May 1944 by German army officer and Military Governor of occupied Crete, General Heinrich Kreipe, while being transported following his kidnapping by the Cretan resistance during World War II.   Traveling with the resistance, British SOE agent Major Patrick Leigh Fermor recognized the ode, and completed the stanza to the surprise of Kreipe.   There is something indescribably sad about this story, a small incident revealing so much about Nazi destruction of Europe’s common culture.

Friday Poem: Song

A long-standing tradition here which we are starting today is a Friday poem.   Mention earlier this week of the movie The Good Shepherd reminds me of the scene in which the Jim Angleton character (played by Matt Damon) discovers that his Yale Literature Professor Dr Fredericks (played by Michael Gambon) has plagiarized a poem.

The poem in question, Song, is by a real poet, Joseph Trumbull Stickney, and is about a cuckoo; this is very appropriate for a movie about spies and spying, since many species of cuckoo are brood parasites, laying their eggs in the nests of other birds.   Gambon’s character was at that point in the film pretending to be someone other than he really was. Angleton had studied poetry at Yale and co-founded a poetry magazine, Furioso, while a student.

Joe Stickney (1874-1904) was a student of George Santayana at Harvard and later friends with him and with Henry Adams in Paris, where Stickney received the first doctorate of letters from the Sorbonne given to an American.  Adams wrote of him: “[in Paris one could] totter about with Joe Stickney, talking Greek philosophy or recent poetry” (The Education, p. 1088) and, “Bay Lodge and Joe Stickney had given birth to the wholly new and original party of Conservative Christian Anarchists, to restore true poetry under the inspiration of the Gotterdammerung.” (The Education, p. 1090).

Stickney traveled in Europe and then taught Greek at Harvard, before dying suddenly of a brain tumour.  Stickney’s poetry has an elegaic, autumnal feel about it, a sense of loss; it is writing from the end of an era, rather than from the start of one, as is Pounds’ or Eliot’s.    Here is “Song“, written in 1902, and very appropriate for the season we in the northern hemisphere are now in:

A bud has burst on the upper bough
(The linnet sang in my heart today);
I know where the pale green grasses show
By a tiny runnel, off the way,
And the earth is wet.
(A cuckoo said in my brain: “Not yet.”)

I nabbed the fly in a briar rose
(The linnet to-day in my heart did sing);
Last night, my head tucked under my wing,
I dreamed of a green moon-moth that glows
Thro’ ferns of June.
(A cuckoo said in my brain: “So soon?”)

Good-bye, for the pretty leaves are down
(The linnet sang in my heart today);
The last gold bit of upland’s mown,
And most of summer has blown away
Thro’ the garden gate.
(A cuckoo said in my brain: “Too late.”)

POSTSCRIPT (added 2008-10-25): Since posting this, I have learnt about a recent setting to music of another elegaic Stickney poem, Mnemosyne, by the Russian-American violist Lev Zhurbin.  The song is performed here by Zhurbin’s eclectic gypsy-influenced group, Ljova and the Kontraband, and the poem itself is here.   The poem is about the decay of memories over time, and what I found most appealing about the setting is the final repetition of the central refrain, It’s autumn in the country I remember, a refrain which Stickney varies slightly each time it appears. (Thanks, JS).

POSTSCRIPT (added 2009-09-28): I wonder if Angleton met with Santayana in Rome when Angleton was engaged in espionage after WW II, using illegal bribery and much else besides to ensure (inter alia) that the Communist Party of Italy did not win the post-war elections.  They would probably have agreed on politics.  And, of course, Angleton, like Santayana, was a child of two cultures, American and Hispanic, since Angleton’s mother was Mexican.

POSTSCRIPT (added 2010-11-03):  I encounter something which suggests it would be more surprising for Angleton NOT to have met Santayana in Rome than otherwise.    From M. M. Kirkwood’s account of Santayana’s life and works [1961]:

So Santayana’s sympathy and gay human spirit remained unchanged.  He was responsive and generous always.  Not only [page-break] close friends like Daniel Cory, and distinguished creatures like the Marchesa Iris Origo, were warmly received in Santayana’s room with the Blue Sisters [in Rome].  Tom, Dick, and Harry were also welcomed, for of the numbers of American soldiers who were calling on him in 1945 he wrote in happy vein: “As to society, I have never received so many visits as the American soldiers in Rome have made me.  It has been very pleasant to see so many young faces and to autograph so many books, which is what they usually ask me to do.” [pp. 172-173] 

References:

Henry Adams [1907/1983]:  The Education of Henry Adams.  New York, NY, USA:  The Library of America.

M. M. Kirkwood [1961]: Santayana:  Saint of the Imagination.  Toronto, Canada:  University of Toronto Press.