Tag: Poem

Now that You Too Must Shortly Go by Eleanor Farjeon

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First World War poetry used to mean poems written by men who had served as soldiers on the Western Front. The work of Wilfred Owen, Siegfried Sassoon, Isaac Rosenburg and others concentrated on conditions on the battlefield and the terrible consequences of combat for those involved.

More recently, the definition has widened, helped by Andrew Motion’s 2003 anthology, to include poems written by women that deal with bereavement and the situation on the home front.

So here, in the run-up to Remembrance Day is a poignant poem about the moment when a couple must part which speaks for itself, really. It is by Eleanor Farjeon (1881–1965), later a prolific author for children and perhaps best known today for the words to the hymn Morning has Broken.

Now that You Too Must Shortly Go by Eleanor Farjeon

Now that you too must shortly go the way
Which in these bloodshot years uncounted men
Have gone in vanishing armies day by day,
And in their numbers will not come again:

I must not strain the moments of our meeting
Striving for each look, each accent, not to miss,
Or question of our parting and our greeting,
Is this the last of all? is this—or this?

Last sight of all it may be with these eyes,
Last touch, last hearing, since eyes, hands, and ears,
Even serving love, are our mortalities,
And cling to what they own in mortal fears:—
But oh, let end what will, I hold you fast
By immortal love, which has no first or last.

Ozymandias by Shelley

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I’ve been watching the BBC programme Russia 1985–1999 and of course it contains scenes of huge statues being toppled as communism was overthrown.

Shelley’s well-known poem about the ephemeral nature of power has been increasingly on my mind in this strange year of war and political upheaval.

It dates from the early nineteenth century and it’s an amazing thought that empires and tyrannies have risen and fallen since then, yet the poem itself has survived. Shelley himself has become like the sculptor that he describes.

It’s somehow reassuring to think that like Ozymandias, Vladimir Putin will one day be just another half-forgotten figure from the past.

Ozymandias by Shelley

I met a traveller from an antique land
Who said: “Two vast and trunkless legs of stone
Stand in the desert . . . Near them, on the sand,
Half sunk, a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them, and the heart that fed:
And on the pedestal these words appear:
‘My name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!’
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare
The lone and level sands stretch far away.”

The Persian Version by Robert Graves

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Here’s another poem from Robert Graves. He wrote this one during the second world war, referring back to classical antiquity to comment on current events.

It refers to the battle of Marathon in 490BC, at which the Greeks halted the Persian invasion. The major source for this is the Greek writer Herodotus, known as “the father of history”. He more or less invented the idea that history depends on who exactly is telling the story.

Graves would have been familiar with questioning the news, wondering whether the latest British military success reported on the BBC had actually happened quite as it was described.

We can appreciate the timelessness of this poem today, when the news about what is happening in Ukraine depends on whether it is from a Ukrainian or Russian source.

The last two lines here are a magnificent example of what we would now call “spin”, putting the best possible interpretation on what was actually a defeat.   

The Persian Version by Robert Graves

Truth-loving Persians do not dwell upon
The trivial skirmish fought near Marathon.
As for the Greek theatrical tradition
Which represents that summer’s expedition
Not as a mere reconnaissance in force
By three brigades of foot and one of horse
(Their left flank covered by some obsolete
Light craft detached from the main Persian fleet)
But as a grandiose, ill-starred attempt
To conquer Greece – they treat it with contempt;
And only incidentally refute
Major Greek claims, by stressing what repute
The Persian monarch and the Persian nation
Won by this salutary demonstration:
Despite a strong defence and adverse weather
All arms combined magnificently together.

Surgical Ward: Men by Robert Graves

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It’s just over two years since I had a major operation so it seems appropriate to look again at this poem by Robert Graves. It concerns a subject that doesn’t get written about very often. I’m not sure when it was written, but I think it refers to an operation later in Graves’ life, rather than any of his experiences in the first world war.

I think it is a remarkable poem, but I must admit I have to supress a wry smile. As so often with Graves, there’s just the merest hint of a boast in his telling us that he was able to resist asking for morphine. I have to admit that I gave in and pressed the green button on the pump as often as it would let me.

Surgical Ward: Men by Robert Graves

Something occurred after the operation
To scare the surgeons (though no fault of theirs),
Whose reassurance did not fool me long.
Beyond the shy, concerned faces of nurses
A single white-hot eye, focusing on me,
Forced sweat in rivers down from scalp to belly.
I whistled, gasped or sang, with blanching knuckles
Clutched at my bed-grip almost till it cracked:
Too proud, still, to let loose Bedlamite screeches
And bring the charge-nurse scuttling down the aisle
With morphia-needle levelled…
                                     Lady Morphia—
Her scorpion kiss and dark gyrating dreams—
She in mistrust of whom I dared out-dare,
Two minutes longer than seemed possible,
Pain, that unpurposed, matchless elemental
Stronger than fear or grief, stranger than love.

  

Epitaph on a Tyrant by W H Auden

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Only a week or two ago, this short poem by W H Auden could be filed away as a piece of twentieth century history. Suddenly, it is topical all over again.   

I re-discovered it when I watched the 2003 BBC series, Cambridge Spies, in which it is featured. “Is he talking about Hitler?, asks the character who reads it aloud. It was published in Auden’s 1940 collection, Another Time. Certainly, at the end of the 1930s, or in Auden’s words, “that low, dishonest decade”, most readers in Britain would probably have taken it as referring to Hitler, Franco or Mussolini.

The irony in a drama about Guy Burgess, Kim Philby and Anthony Blunt, is that as dedicated anti-fascists, they failed to see that in offering their clandestine services to Stalin, they were collaborating with a dictator of equal ferocity.

Epitaph on a Tyrant by W H Auden

Perfection, of a kind, was what he was after,
And the poetry he invented was easy to understand;
He knew human folly like the back of his hand,
And was greatly interested in armies and fleets;
When he laughed, respectable senators burst with laughter,
And when he cried the little children died in the streets.

To Any Member Of My Generation by George Barker

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Given the grim events of the last few days, I thought I should try to find an appropriate poem, but it’s been a harder task than I imagined. For some reason, this one popped into my mind. Perhaps it is the feeling of “we should have seen this coming” that it conveys so powerfully.

George Barker, (1913–1991) was a prolific poet, much admired in his time, but perhaps over-prolific, which may be part of the reason he has become less well-known today.

He was in the generation that came to maturity in the 1930s, and who were in their twenties during the second world war.

To avoid any confusion, I should point out that the “Richmond” here is Richmond on Thames, a place I know well and perhaps another reason this poem speaks to me.

To Any Member Of My Generation by George Barker

What is it you remember? – the summer mornings
Down by the river at Richmond with a girl,
And as you kissed, clumsy in bathing costumes,
History guffawed in a rosebush. What a warning –
If only we had known, if only we had known!
And when you looked in mirrors was this meaning
Plain as the pain in the centre of a pearl?
Horrible tomorrow in Teutonic postures
Making absurd the past we cannot disown?

Whenever we kissed we cocked the future’s rifles
And from our wild-oat words, like dragon’s teeth,
Death underfoot now arises; when we were gay
Dancing together in what we hoped was life,
Who was it in our arms but the whores of death
Whom we have found in our beds today, today?

The Old Familiar Faces by Charles Lamb

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I had the sad experience recently of finding out that one of the friends of my youth had died. Another link with the past was broken. It was to this poem that I turned. 

Charles Lamb (1775–1834) was an essayist and poet. He was a schoolfriend of Coleridge, and knew Wordsworth and Hazlitt. His best-known work today is the children’s book Tales from Shakespeare, co-written with his sister Mary.

He wrote many poems, but it is only this one that has survived to achieve immortality. It’s easy to see why. It says something that we can all recognise, particularly as we get older, in plain and clear language. It captures the pain of nostalgia perfectly. And with the title, Lamb added a phrase to the language.

The Old Familiar Faces by Charles Lamb

I have had playmates, I have had companions,
In my days of childhood, in my joyful school-days,
All, all are gone, the old familiar faces.

I have been laughing, I have been carousing,
Drinking late, sitting late, with my bosom cronies,
All, all are gone, the old familiar faces.

I loved a love once, fairest among women;
Closed are her doors on me, I must not see her —
All, all are gone, the old familiar faces.

I have a friend, a kinder friend has no man;
Like an ingrate, I left my friend abruptly;
Left him, to muse on the old familiar faces.

Ghost-like, I paced round the haunts of my childhood.
Earth seemed a desert I was bound to traverse,
Seeking to find the old familiar faces.

Friend of my bosom, thou more than a brother,
Why wert not thou born in my father’s dwelling?
So might we talk of the old familiar faces —

How some they have died, and some they have left me,
And some are taken from me; all are departed;
All, all are gone, the old familiar faces.

The Fifties by Hugo Williams

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Hugo Williams is probably my favourite current poet. This one is from 2014 and it’s a good example of his style, easy to read with those overlapping lines, almost conversational, but with more going on than might be apparent at first. Like so much of his writing, it’s a  slightly melancholy comment on changing times and social mores.

I don’t actually remember porters, but I do remember people wondering why they had disappeared. The whole question was rendered redundant by the invention of the wheeled suitcase, of course.

Another reason I like his work so much, is that he has written about how he came to poetry via song lyrics. That is a journey I myself have made over the years. The title of the collection in which this appeared is I Knew The Bride, a reference to the Nick Lowe song. It also contains a poem called Twenty Yards Behind, dedicated to Wilko Johnson. Those two go back a long way. Hugo Williams is also a journalist and wrote the programme notes for Doctor Feelgood in 1975.  

The Fifties by Hugo Williams

Remember porters? Weatherbeaten old boys
with watery blue eyes, who found you a corner seat
‘facing the engine’ and stowed your luggage
in a net above your head? You gave them a coin,
worth almost nothing, even then,
and they touched their caps and thanked you
as they struggled out through the sliding doors
of the compartment into the corridor.
You used to worry vaguely
that they wouldn’t have time to get down.

Days of Wine and Roses by Ernest Dowson

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I have given this poem the title by which it is generally known, because Ernest Dowson (1867–1900)himself did not give it an English title. As an Oxford man of that era, he preferred a Latin one, Vitae Summa Brevis Spem Nos Vetat Incohare Longam, from the poet Horace. It translates roughly as“the shortness of life forbids us long hopes”.

It was used very memorably in the TV series The Durrells, where it was recited by Keeley Hawes as Louisa Durrell. She was trying to make her squabbling children understand that their life on Corfu was an idyllic sojourn that would not last forever.

Sadly but somewhat appropriately for the author of a poem about the brevity of life, Dowson, who was associated with the decadent movement, died of alcoholism at the age of thirty–two.

Days of Wine and Roses by Ernest Dowson

They are not long, the weeping and the laughter,
   Love and desire and hate:
I think they have no portion in us after
   We pass the gate.

They are not long, the days of wine and roses:
    Out of a misty dream
Our path emerges for a while, then closes
   Within a dream.

The Poplar Field by William Cowper

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They came and did some work on the tall plane trees in my road back in the spring. Men swarmed up on ropes and cut off all the small branches, leaving the trees black and stumpy against the blue sky.

Those trees are so high, they must be older than a lot of the local buildings that surround them. I don’t know just why it had to be done; there will be green shoots again, in time, I thought, but will they come this year?

At least the trees, even in their denuded state, were still there. During the summer, helped by the rain perhaps, they became bushy and green again, and now the leaves are starting to change colour.

You can see why the whole episode made me think of the poem below. Writing towards the end of his life, William Cowper (1731–1800) uses the image of the felled trees replaced by newly grown ones to reflect on the passing of time and life itself, and the impermanence of all things. 

The Poplar Field by William Cowper

The poplars are felled; farewell to the shade
And the whispering sound of the cool colonnade;
The winds play no longer and sing in the leaves,
Nor Ouse on his bosom their image receives.

Twelve years have elapsed since I last took a view
Of my favourite field and the bank where they grew;
And now in the grass behold they are laid,
And the tree is my seat that once lent me a shade.

The blackbird has fled to another retreat
Where the hazels afford him a screen from the heat,
And the scene where his melody charmed me before,
Resounds with his sweet-flowing ditty no more.

My fugitive years are all hasting away,
And I must ere long lie as lowly as they,
With a turf on my breast and a stone at my head
Ere another such grove shall arise in its stead.

’Tis a sight to engage me if anything can,
To muse on the perishing pleasures of man;
Though his life be a dream, his enjoyments, I see,
Have a being less durable even than he.