Showing posts with label Rupert Brooke. Show all posts
Showing posts with label Rupert Brooke. Show all posts

Friday, 25 July 2014

'Restless longing, heavenly avarice, that never could be satisfied': Roads and Pilgrims

Since it's the feast of St James, by medieval tradition the patron of pilgrims, here's a miscellany of texts touching on pilgrimages, roads, and seeking.

St James, attired as a pilgrim (1320s, Norwich; BL Stowe 12, f.279v)
The gode pilegrim halt eaver his rihte wei forth-ward. Thah he seo other here idele gomenes ant wundres bi the weie, he ne edstont nawt as foles doth, ah halt forth his rute ant hiheth toward his giste. He ne bereth na gersum bute his speonse gnedeliche, ne clathes bute ane theo thet him to neodeth. This beoth hali men the, thah ha beon i the world, ha beoth th'rin as pilegrimes ant gath with god lif-lade toward te riche of heovene, ant seggeth with the Apostle, Non habemus hic manentem civitatem, set futuram inquirimus - thet is, "nabbe we na wununge her, ah we secheth other." Beoth bi the leaste thet ha mahen, ne ne haldeth na tale of na worltlich frovre, thah ha beon i worltlich wei - as ich seide - of pilegrim, ah habbeth hare heorte eaver toward heovene, ant ahen wel to habben. For other pilegrimes gath [i] muche swinc to sechen ane sontes banes, as Sein James other Sein Giles, ah theo pilegrimes the gath toward heovene, ha gath to beon i-sontet, ant to finden Godd seolf ant alle his hali halhen, liviende i blisse, ant schulen livien with him i wunne buten ende. Ha i-findeth i-wis Sein Julienes in, the wei-fearinde men yeornliche bisecheth.

[The good pilgrim always keeps on his direct road forward. Although he may see or hear idle games and marvels beside the way, he does not stop, as fools do, but keeps on his road and hastens towards his lodging. He does not carry any treasure except his frugal expenses, and no clothes except only those which are necessary to him. These are holy men who, though they live in the world, live in it as pilgrims, and travel in a good way of living towards the kingdom of heaven, and say with the Apostle, Non habemus hic manentem civitatem, set futuram inquirimus; that is, we do not have a dwelling here, but we seek another. They make do with the least they can, and do not set any store by earthly comfort, though they are on the earthly road, as I said, as pilgrims; but their hearts are always directed towards heaven, and well they ought to be. For other pilgrims travel with great labour to seek the bones of a single saint, such as St James or St Giles, but these pilgrims, who travel towards heaven, go to be made saints and to find God himself and all his holy saints living in glory, and will live with him in joy without end. They truly find St Julian’s house, which wayfaring men earnestly seek.]

- from Ancrene Wisse

Canterbury Cathedral

I wol ful fayn, at Cristes reverence,
Do yow plesaunce leefful, as I kan.
But trusteth wel, I am a southren man,
I kan nat geeste 'rum, ram, ruf,' by lettre,
Ne, God woot, rym holde I but litel bettre;
And therfore, if yow list - I wol nat glose -
I wol yow telle a myrie tale in prose
To knytte up al this feeste, and make an ende.
And Jhesu, for his grace, wit me sende
To shewe yow the wey, in this viage,
Of thilke parfit glorious pilgrymage
That highte Jerusalem celestial...

Oure sweete lord God of hevene, that no man wole perisse, but wole that we comen alle to the knoweleche of hym, and to the blisful lif that is perdurable, amonesteth us by the prophete Jeremie, that seith in thys wyse: "stondeth upon the weyes, and seeth and axeth of olde pathes (that is to seyn, of olde sentences) which is the goode wey. And walketh in that wey, and ye shal fynde refresshynge for youre soules, etc." Manye been the weyes espirituels that leden folk to oure lord Jhesu Crist, and to the regne of glorie. Of whiche weyes, ther is a ful noble wey and ful covenable, which may nat fayle to man ne to womman that thurgh synne hath mysgoon fro the righte wey of Jerusalem celestial; and this wey is cleped penitence.

- Chaucer's Parson, telling the last tale of the Canterbury Pilgrimage (full text here)

The Parson in the Ellesmere Chaucer (from wikipedia)

Thanne hente Hope an horn of Deus tu conversus vivificabis nos
And blew it with Beati quorum remisse sunt iniquitate
That alle Seintes in hevene songen at ones,
Homines et iumenta salvabis, quemadmodum multiplicasti misericordiam tuam.
A thousand of men tho thrungen togideres,
Cride upward to Crist and to his clene moder
To have grace to go seke Truthe - God leve that they moten!
Ac there was wight noon so wys, the wey thider kouthe,
But blustreden forth as beestes over baches and hilles,
Til late was and longe, that thei a leode mette
Apparailled as a paynym in pilgrymes wise.
He bar a burdoun ybounde with a brood liste
In a withwynde wise ywounden aboute.
A bolle and a bagge he bar by his syde.
An hundred of ampulles on his hat seten,
Signes of Synay and shelles of Galice,
And many a crouch on his cloke, and keyes of Rome,
And the vernicle bifore, for men sholde knowe
And se bi hise signes whom he sought hadde.
This folk frayned hym first fro whennes he come.
"Fram Synay," he seide, "and fram the Sepulcre.
In Bethlem and in Babiloyne, I have ben in bothe,
In Armonye, in Alisaundre, in manye othere places.
Ye may se by my signes that sitten on myn hatte
That I have walked ful wide in weet and in drye
And sought goode seintes for my soule helthe."
"Knowestow aught a corsaint," quod thei, "that men calle Truthe?
Koudestow wissen us the wey wher that wye dwelleth?"
"Nay, so me God helpe!" seide the gome thanne.
"I seigh nevere palmere with pyk ne with scrippe
Asken after hym er now in this place."

"Peter!" quod a Plowman, and putte forth his hed,
"I knowe hym as kyndely as clerk doth hise bokes.
Conscience and Kynde Wit kenned me to his place
And diden me suren hym siththen to serven hym for evere,
Bothe to sowe and to sette the while I swynke myghte.
I have ben his folwere al this fourty wynter--
Bothe ysowen his seed and suwed hise beestes,
Withinne and withouten waited his profit,
Idyked and idolve, ido that he hoteth.
Som tyme I sowe and som tyme I thresshe,
In taillours craft and tynkeris craft, what Truthe kan devyse,
I weve and I wynde and do what Truthe hoteth.
For though I seye it myself, I serve hym to paye;
I have myn hire of hym wel and outherwhiles moore.
He is the presteste paiere that povere men knoweth:
He withhalt noon hewe his hire that he ne hath it at even.
He is as lowe as a lomb and lovelich of speche.
And if ye wilneth to wite where that he dwelleth,
I wol wisse yow wel right to his place."
"Ye, leve Piers!" quod thise pilgrimes, and profred hym huyre.
"Nay, by the peril of my soule!" quod Piers and gan to swere,
"I nolde fange a ferthyng, for Seint Thomas shryne!
Truthe wolde love me the lasse a long tyme after."

- Piers Plowman, Passus V

St James (c.1500, from Westhall)

I travell'd on, seeing the hill, where lay
My expectation.
A long it was and weary way.
The gloomy cave of Desperation
I left on th'one, and on the other side
The rock of Pride.

And so I came to Phansies medow strow'd
With many a flower:
Fair would I here have made abode,
But I was quicken'd by my houre.
So to Cares cops I came, and there got through
With much ado.

That led me to the wilde of Passion, which
Some call the wold;
A wasted place, but sometimes rich.
Here I was robb'd of all my gold,
Save one good Angell, which a friend had ti'd
Close to my side.

At length I got unto the gladsome hill,
Where lay my hope,
Where lay my heart; and climbing still,
When I had gain'd the brow and top,
A lake of brackish waters on the ground
Was all I found.

With that abash'd and struck with many a sting
Of swarming fears,
I fell, and cry'd, Alas my King;
Can both the way and end be tears?
Yet taking heart I rose, and then perceiv'd
I was deceiv'd:

My hill was further: so I flung away,
Yet heard a crie
Just as I went, None goes that way
And lives: If that be all, said I,
After so foul a journey death is fair,
And but a chair.

- George Herbert, 'The Pilgrimage'

Pilgrims' crosses, Stodmarsh

Friends and loves we have none, nor wealth nor blessed abode,
But the hope of the City of God at the other end of the road.

Not for us are content, and quiet, and peace of mind,
For we go seeking a city that we shall never find.

There is no solace on earth for us - for such as we -
Who search for a hidden city that we shall never see.

Only the road and the dawn, the sun, the wind, and the rain,
And the watch fire under stars, and sleep, and the road again.

We seek the City of God, and the haunt where beauty dwells,
And we find the noisy mart and the sound of burial bells.

Never the golden city, where radiant people meet,
But the dolorous town where mourners are going about the street.

We travel the dusty road till the light of the day is dim,
And sunset shows us spires away on the world's rim.

We travel from dawn to dusk, till the day is past and by,
Seeking the Holy City beyond the rim of the sky.

Friends and loves we have none, nor wealth nor blest abode,
But the hope of the City of God at the other end of the road.

- John Masefield, 'The Seekers'

South Elmham St James, Suffolk

Bearwas blostmum nimað, byrig fægriað,
wongas wlitigað, woruld onetteð;
ealle þa gemoniað modes fusne
sefan to siþe, þam þe swa þenceð
on flodwegas feor gewitan.
Swylce geac monað geomran reorde,
singeð sumeres weard, sorge beodeð
bitter in breosthord. þæt se beorn ne wat,
esteadig secg, hwæt þa sume dreogað
þe þa wræclastas widost lecgað.
Forþon nu min hyge hweorfeð ofer hreþerlocan,
min modsefa mid mereflode
ofer hwæles eþel hweorfeð wide,
eorþan sceatas, cymeð eft to me
gifre ond grædig, gielleð anfloga,
hweteð on hwælweg hreþer unwearnum
ofer holma gelagu. Forþon me hatran sind
dryhtnes dreamas þonne þis deade lif,
læne on londe.

The woods take on blossoms, towns become fair,
fields grow beautiful, the world hastens on;
all these things urge on the eager mind,
the spirit to the journey, in one who thinks to travel
far on the paths of the sea.
The cuckoo too gives warning with mournful voice,
summer's watchman sings, foretells sorrow,
bitter in the heart. Of this that man knows nothing,
the warrior blessed with wealth, what some endure
who furthest tread the paths of exile.
And so now my spirit roams beyond the confines of the heart,
my spirit over the sea-flood;
it wanders wide over the whale's home,
the expanse of the earth, and comes back to me
eager and greedy; the lone flier cries,
incites the heart to the whale's way, irresistible,
across the ocean's floods. And so to me
the joys of the Lord are warmer than this dead life,
lent on land.

- 'The Seafarer'


(Halted around the fire by night, after moon-set, they sing this beneath the trees)

What light of unremembered skies
Hast thou relumed within our eyes,
Thou whom we seek, whom we shall find? . . .
A certain odour on the wind,
Thy hidden face beyond the west,
These things have called us; on a quest
Older than any road we trod,
More endless than desire. . . .

Far God,
Sigh with thy cruel voice, that fills
The soul with longing for dim hills
And faint horizons! For there come
Grey moments of the antient dumb
Sickness of travel, when no song
Can cheer us; but the way seems long;
And one remembers. . . .

Ah! the beat
Of weary unreturning feet,
And songs of pilgrims unreturning! . . .
The fires we left are always burning
On the old shrines of home. Our kin
Have built them temples, and therein
Pray to the Gods we know; and dwell
In little houses lovable,
Being happy (we remember how!)
And peaceful even to death. . . .

O Thou,
God of all long desirous roaming,
Our hearts are sick of fruitless homing,
And crying after lost desire.
Hearten us onward! as with fire
Consuming dreams of other bliss.
The best Thou givest, giving this
Sufficient thing - to travel still
Over the plain, beyond the hill,
Unhesitating through the shade,
Amid the silence unafraid,
Till, at some sudden turn, one sees
Against the black and muttering trees
Thine altar, wonderfully white,
Among the Forests of the Night.

- Rupert Brooke, 'The Song of the Pilgrims'

'Christ and the pilgrims' on the road to Emmaus (BL Yates Thompson 13, f.127v)
There are primal things which move us. Fire has the character of a free companion that has traveled with us from the first exile; only to see a fire, whether he need it or no, comforts every man. Again, to hear two voices outside at night after a silence, even in crowded cities, transforms the mind. A Roof also, large and mothering, satisfies us here in the north much more than modern necessity can explain; so we built in the beginning: the only way to carry off our rains and to bear the weight of our winter snows. A Tower far off arrests a man’s eye always: it is more than a break in the sky-line; it is an enemy’s watch or the rallying of a defence to whose aid we are summoned. Nor are these emotions a memory or a reversion only as one crude theory might pretend; we craved these things - the camp, the refuge, the sentinels in the dark, the hearth - before we made them; they are part of our human manner, and when this civilisation has perished they will reappear.

Of these primal things the least obvious but the most important is The Road. It does not strike the sense as do those others I have mentioned; we are slow to feel its influence. We take it so much for granted that its original meaning escapes us. Men, indeed, whose pleasure it is perpetually to explore even their own country on foot, and to whom its every phase of climate is delightful, receive, somewhat tardily, the spirit of The Road. They feel a meaning in it; it grows to suggest the towns upon it, it explains its own vagaries, and it gives a unity to all that has arisen along its way. But for the mass The Road is silent; it is the humblest and the most subtle, but, as I have said, the greatest and the most original of the spells which we inherit from the earliest pioneers of our race. It was the most imperative and the first of our necessities. It is older than building and than wells; before we were quite men we knew it, for the animals still have it to-day; they seek their food and their drinking-places, and, as I believe, their assemblies, by known tracks which they have made.

It is easy to re-create in oneself to-day a sense of what the Road means to living things on land: it is easy to do it even in this crowded country. Walk, for instance, on the neglected Pennines along the watershed of England, from Malham Tarn, say, to Ribblehead, or from Kirkby Stephen up along the crest to Crossfell and so to Alston, and you will learn at once what follows on an untouched soil from the absence of a track of a guide. One ravine out of the many radiating from a summit will lead to the one valley you seek; take another stream and you are condemned at last to traverse mountains to repair the error. In a fog or at night, if one has not such a path, there is nothing to help one but the lay of the snow or the trend of the vegetation under the last gale. In climbing, the summit is nearly always hidden, and nothing but a track will save you from false journeys. In descent it alone will save you a precipice or an unfordable stream. It knows upon which side an obstacle can be passed, where there is firm land in a morass, and where there is the best going; sand or rock - dry soil. It will find what nothing but long experiment can find for an individual traveller, the precise point in a saddle or neck where approach is easiest from either side, and everywhere the Road, especially the very early Road, is wiser than it seems to be...

To study something of great age until one grows familiar with it and almost to live in its time, is not merely to satisfy a curiosity or to establish aimless truths: it is rather to fulfil a function whose appetite has always rendered History a necessity. By the recovery of the Past, stuff and being are added to us; our lives which, lived in the present only, are a film or surface, take on body - are lifted into one dimension more. The soul is fed. Reverence and knowledge and security and the love of a good land - all these are increased or given by the pursuit of this kind of learning. Visions or intimations are confirmed. It is excellent to see perpetual agony and failure perpetually breeding the only enduring things; it is excellent to see the crimes we know ground under the slow wheels whose ponderous advance we can hardly note during the flash of one human life. One may say that historical learning grants men glimpses of life completed and a whole; and such a vision should be the chief solace of whatever is mortal and cut off imperfectly from fulfilment...

For my part I desired to step exactly in the footprints of such ancestors. I believed that, as I followed their hesitations at the river crossings, as I climbed where they had climbed to a shrine whence they also had seen a wide plain, as I suffered the fatigue they suffered, and laboriously chose, as they had chosen, the proper soils for going, something of their much keener life would wake again in the blood I drew from them, and that in a sort I should forget the vileness of my own time, and renew for some few days the better freedom of that vigorous morning when men were already erect, articulate, and worshipping God, but not yet broken by complexity and the long accumulation of evil. It was perhaps a year ago that I determined to follow and piously to recover the whole of that doubtful trail whereby they painfully made their way from one centre of their common life to the sea, which was at once their chief mystery and their only passage to the rest of their race - from Hampshire to the Straits of Dover.
- Hilaire Belloc, following the Pilgrims' Way from Winchester to Canterbury in 'The Old Road'


From my current favourite pilgrims, A Walk Around Britain

There are more ways than one of getting close to your ancestors. Follow the old road, and as you walk, think of them and of the old England. They climbed Chillingbourne Hill just as you did. They sweated and paused for breath just as you did today. And when you see the bluebells in the spring and the wild thyme and the broom and the heather, you're only seeing what their eyes saw. You ford the same rivers. The same birds are singing. When you lie flat on your back and rest, and watch the clouds sailing, as I often do, you're so close to those other people that you can hear the thrumming of the hoofs of their horses, and the sound of the wheels on the road, and their laughter and talk, and the music of the instruments they carried. And when I turn the bend in the road, where they too saw the towers of Canterbury, I feel I've only to turn my head to see them on the road behind me.

- A Canterbury Tale (1944)


For giving me desire,
An eager thirst, a burning ardent fire,
A virgin infant flame,
A love with which into the world I came,
An inward hidden heavenly love,
Which in my soul did work and move,
And ever, ever me inflame
With restless longing, heavenly avarice,
That never could be satisfied,
That did incessantly a paradise
Unknown suggest, and something undescribed
Discern, and bear me to it; be
Thy name forever praised by me.

My parched and withered bones
Burnt up did seem; my soul was full of groans;
My thoughts extensions were:
Like paces, reaches, steps they did appear;
They somewhat hotly did pursue,
Knew that they had not all their due,
Nor ever quiet were.
But made my flesh like hungry, thirsty ground,
My heart a deep profound abyss,
And every joy and pleasure a wound,
So long as I my blessedness did miss.
Oh happiness! A famine burns,
And all my life to anguish turns!

Where are the silent streams,
The living waters and the glorious beams,
The sweet reviving bowers,
The shady groves, the sweet and curious flowers,
The springs and trees, the heavenly days,
The flow'ry meads, and glorious rays,
The gold and silver towers?
Alas! all these are poor and empty things!
Trees, waters, days, and shining beams,
Fruits, flowers, bowers, shady groves, and springs,
No joy will yield, no more than silent streams;
Those are but dead material toys,
And cannot make my heavenly joys.

O love! Ye amities,
And friendships that appear above the skies!
Ye feasts and living pleasures!
Ye senses, honors, and imperial treasures!
That satisfy all appetites!
Ye sweet affections, and
Ye high respects! Whatever joys there be
In triumphs, whatsoever stand
In amicable sweet society,
Whatever pleasures are at His right hand,
Ye must before I am divine
In full propriety be mine.

This soaring, sacred thirst,
Ambassador of bliss, approached first,
Making a place in me
That made me apt to prize, and taste, and see.
For not the objects but the sense
Of things doth bliss to our souls dispense,
And make it, Lord, like Thee.
Sense, feeling, taste, complacency, and sight,
These are the true and real joys,
The living, flowing, inward, melting, bright,
And heavenly pleasures; all the rest are toys;
All which are founded in desire,
As light in flame and heat in fire.

- Thomas Traherne

Wednesday, 23 April 2014

'Love has no habitation but the heart'

Mutability

They say there's a high windless world and strange,
Out of the wash of days and temporal tide,
Where Faith and Good, Wisdom and Truth abide,
'Aeterna corpora', subject to no change.
There the sure suns of these pale shadows move;
There stand the immortal ensigns of our war;
Our melting flesh fixed Beauty there, a star,
And perishing hearts, imperishable Love. . . .

Dear, we know only that we sigh, kiss, smile;
Each kiss lasts but the kissing; and grief goes over;
Love has no habitation but the heart.
Poor straws! on the dark flood we catch awhile,
Cling, and are borne into the night apart.
The laugh dies with the lips, 'Love' with the lover.


This is a poem by Rupert Brooke, who died on 23 April 1915, aged 27. When I first read Rupert Brooke's poetry as a teenager, I thought it a shame that his early death inevitably casts a shadow back over his work - that it's so difficult to separate the romance of a handsome young poet dying in the First World War (on St George's Day, no less), having practically written his own epitaph in 'The Soldier', from the rest of his more characteristic and more interesting poetry, which is many things but never predictable or easy. I thought that disparity was unfair, when I was fourteen years old. Next week I'll turn 28, the age Rupert Brooke never reached, and now I think differently - in fact I rather envy him. As he was keenly aware himself - evident in poems like 'Menelaus and Helen' and 'Sonnet Reversed' - there is much to be said for ending a story before the romance wears off, before youthful potential declines into middle-aged failure.

Saturday, 3 August 2013

Mutability

As I continue to work on my next post about the Danish conquest of England (coming tomorrow, I hope!), here's something for those of you less enamoured of eleventh-century history than I am: a poem by Rupert Brooke, who was born on this day in 1887.


Mutability

They say there's a high windless world and strange,
Out of the wash of days and temporal tide,
Where Faith and Good, Wisdom and Truth abide,
'Aeterna corpora', subject to no change.
There the sure suns of these pale shadows move;
There stand the immortal ensigns of our war;
Our melting flesh fixed Beauty there, a star,
And perishing hearts, imperishable Love. . . .

Dear, we know only that we sigh, kiss, smile;
Each kiss lasts but the kissing; and grief goes over;
Love has no habitation but the heart.
Poor straws! on the dark flood we catch awhile,
Cling, and are borne into the night apart.
The laugh dies with the lips, 'Love' with the lover.

Thursday, 30 May 2013

'Retrospect'

In your arms was still delight,
Quiet as a street at night;
And thoughts of you, I do remember,
Were green leaves in a darkened chamber,
Were dark clouds in a moonless sky.
Love, in you, went passing by,
Penetrative, remote, and rare,
Like a bird in the wide air,
And, as the bird, it left no trace
In the heaven of your face.
In your stupidity I found
The sweet hush after a sweet sound.
All about you was the light
That dims the greying end of night;
Desire was the unrisen sun,
Joy the day not yet begun,
With tree whispering to tree,
Without wind, quietly.
Wisdom slept within your hair,
And Long-Suffering was there,
And, in the flowing of your dress,
Undiscerning Tenderness.
And when you thought, it seemed to me,
Infinitely, and like a sea,
About the slight world you had known
Your vast unconsciousness was thrown. . . .

O haven without wave or tide!
Silence, in which all songs have died!
Holy book, where hearts are still!
And home at length under the hill!
O mother quiet, breasts of peace,
Where love itself would faint and cease!
O infinite deep I never knew,
I would come back, come back to you,
Find you, as a pool unstirred,
Kneel down by you, and never a word,
Lay my head, and nothing said,
In your hands, ungarlanded;
And a long watch you would keep;
And I should sleep, and I should sleep!


Like many of Rupert Brooke's love poems, 'Retrospect' is 95% beautiful, 5% horrifically condescending towards the woman he's supposed to be in love with; but in this the beauty just about makes up for the condescension.

Sunday, 23 December 2012

Mary and Gabriel


Mary and Gabriel

Young Mary, loitering once her garden way,
Felt a warm splendour grow in the April day,
As wine that blushes water through. And soon,
Out of the gold air of the afternoon,
One knelt before her: hair he had, or fire,
Bound back above his ears with golden wire,
Baring the eager marble of his face.
Not man's nor woman's was the immortal grace
Rounding the limbs beneath that robe of white,
And lighting the proud eyes with changeless light,
Incurious. Calm as his wings, and fair,
That presence filled the garden.
She stood there,
Saying, "What would you, Sir?" He told his word,
"Blessed art thou of women!" Half she heard,
Hands folded and face bowed, half long had known,
The message of that clear and holy tone,
That fluttered hot sweet sobs about her heart;
Such serene tidings moved such human smart.
Her breath came quick as little flakes of snow.
Her hands crept up her breast. She did but know
It was not hers. She felt a trembling stir
Within her body, a will too strong for her
That held and filled and mastered all. With eyes
Closed, and a thousand soft short broken sighs,
She gave submission; fearful, meek, and glad...

She wished to speak. Under her breasts she had
Such multitudinous burnings, to and fro,
And throbs not understood; she did not know
If they were hurt or joy for her; but only
That she was grown strange to herself, half lonely,
All wonderful, filled full of pains to come
And thoughts she dare not think, swift thoughts and dumb,
Human, and quaint, her own, yet very far,
Divine, dear, terrible, familiar...
Her heart was faint for telling; to relate
Her limbs' sweet treachery, her strange high estate,
Over and over, whispering, half revealing,
Weeping; and so find kindness to her healing.
'Twixt tears and laughter, panic hurrying her,
She raised her eyes to that fair messenger.
He knelt unmoved, immortal; with his eyes
Gazing beyond her, calm to the calm skies;
Radiant, untroubled in his wisdom, kind.
His sheaf of lilies stirred not in the wind.
How should she, pitiful with mortality,
Try the wide peace of that felicity
With ripples of her perplexed shaken heart,
And hints of human ecstasy, human smart,
And whispers of the lonely weight she bore,
And how her womb within was hers no more
And at length hers? Being tired, she bowed her head;
And said, "So be it!" The great wings were spread
Showering glory on the fields, and fire.
The whole air, singing, bore him up, and higher,
Unswerving, unreluctant. Soon he shone
A gold speck in the gold skies; then was gone.

The air was colder, and grey. She stood alone.


Rupert Brooke


The painting is Waterhouse's 'The Annunciation', and though I always think of Waterhouse as such a Victorian painter, the picture is actually later than the poem; the painting dates to 1914, the poem to Autumn 1912, when Brooke was 25 years old.

I find this poem interesting, because as far as I know it's Rupert Brooke's only poem on an explicitly Christian subject (there are, however, several about his scepticism towards religion). I've spent some time this Advent with Edwin Muir's poem 'The Angel and the Girl', written in the late 1940s.  Muir's wonderful poem was inspired by seeing a depiction of the Annunciation in Rome, which he described thus:
An angel and a young girl, their bodies inclined towards each other, their knees bent as if they were overcome by love, 'tutto tremante', gazed upon each other like Dante's pair; and that representation of a human love so intense that it could not reach farther seemed the perfect earthly symbol of the love that passes understanding.
The gaze in Muir's poem is an expression of communing love, powerful, but mutual; Brooke imagines something a little less comfortable.  Even so, I like Brooke's description of how Mary's body becomes strange to her, both a sensation of joy and a sudden, exhausting loneliness; it seems to approach nearer to an understanding of a woman's experience of pregnancy than one might expect from a young man!  But it's also true that it's characteristic of Brooke's attitude to the human body in all his poetry - it's always something strange about it, and it is at the same time ugly and beautiful.  As for the angel, impassive and unapproachable, 'radiant, untroubled in his wisdom, kind', this is a Gabriel exactly like the girls of Brooke's love poems; it especially reminds me of 'Dining-Room Tea', with the sudden glimpse of the lover 'august, immortal, white,/ Holy and strange'.

This both amuses and intrigues me; I wonder if it's inevitable that poets imagine this scene in reference to their own experience of human love...

Saturday, 27 October 2012

'Like hills at noon or sunlight on a tree'

This is Rupert Brooke's 'The Charm'. You can decide for yourself whether this, or this, or this, represents the best of his 'sleeping lover' poems...



The Charm
November, 1909


In darkness the loud sea makes moan;
And earth is shaken, and all evils creep
About her ways. Oh, now to know you sleep!
Out of the whirling blinding moil, alone,
Out of the slow grim fight,
One thought to wing -- to you, asleep,
In some cool room that's open to the night
Lying half-forward, breathing quietly,
One white hand on the white
Unrumpled sheet, and the ever-moving hair
Quiet and still at length!...
Your magic and your beauty and your strength,
Like hills at noon or sunlight on a tree,
Sleeping prevail in earth and air.
In the sweet gloom above the brown and white
Night benedictions hover; and the winds of night
Move gently round the room, and watch you there.
And through the dreadful hours
The trees and waters and the hills have kept
The sacred vigil while you slept,
And lay a way of dew and flowers
Where your feet, your morning feet, shall tread.
And still the darkness ebbs about your bed.
Quiet, and strange, and loving-kind, you sleep.
And holy joy about the earth is shed;
And holiness upon the deep.

Monday, 27 August 2012

The stars, a jolly company

I'm sure there was a time when I used to post something on this blog other than pictures of churches and early-twentieth-century poetry, but I can't for the life of me remember what that something was. And so: Rupert Brooke.


The stars, a jolly company,
I envied, straying late and lonely;
And cried upon their revelry:
"O white companionship! You only
In love, in faith unbroken dwell,
Friends radiant and inseparable!"

Light-heart and glad they seemed to me
And merry comrades (even so
God out of heaven may laugh to see
The happy crowds; and never know
That in his lone obscure distress
Each walketh in a wilderness).

But I, remembering, pitied well
And loved them, who, with lonely light,
In empty infinite spaces dwell,
Disconsolate. For, all the night,
I heard the thin gnat-voices cry,
Star to faint star, across the sky.

Wednesday, 13 June 2012

And love that’s wakened so / Takes all too long to lay asleep again



A Memory

Rupert Brooke


Somewhile before the dawn I rose, and stept
Softly along the dim way to your room,
And found you sleeping in the quiet gloom,
And holiness about you as you slept.
I knelt there; till your waking fingers crept
About my head, and held it. I had rest
Unhoped this side of Heaven, beneath your breast.
I knelt a long time, still; nor even wept.

It was great wrong you did me; and for gain
Of that poor moment’s kindliness, and ease,
And sleepy mother-comfort! Child, you know
How easily love leaps out to dreams like these,
Who has seen them true. And love that’s wakened so
Takes all too long to lay asleep again.


Waikiki, October 1913.

Friday, 27 April 2012

"This April twilight on the river"

This past week in Oxford has been all April showers - sudden cataracts of rain and frail sunshine changing place with each other by the minute. But April is not always like that; here are two poems about quiet, spring-like April twilights upon a river.

First, Rupert Brooke's 'Blue Evening', written in 1909.


Blue Evening

My restless blood now lies a-quiver,
Knowing that always, exquisitely,
This April twilight on the river
Stirs anguish in the heart of me.

For the fast world in that rare glimmer
Puts on the witchery of a dream,
The straight grey buildings, richly dimmer,
The fiery windows, and the stream

With willows leaning quietly over,
The still ecstatic fading skies...
And all these, like a waiting lover,
Murmur and gleam, lift lustrous eyes,

Drift close to me, and sideways bending
Whisper delicious words. But I
Stretch terrible hands, uncomprehending,
Shaken with love; and laugh; and cry.

My agony made the willows quiver;
I heard the knocking of my heart
Die loudly down the windless river,
I heard the pale skies fall apart,

And the shrill stars' unmeaning laughter,
And my voice with the vocal trees
Weeping. And Hatred followed after,
Shrilling madly down the breeze.

In peace from the wild heart of clamour,
A flower in moonlight, she was there,
Was rippling down white ways of glamour
Quietly laid on wave and air.

Her passing left no leaf a-quiver.
Pale flowers wreathed her white, white brows.
Her feet were silence on the river;
And "Hush!" she said, between the boughs.


And now, Robert Louis Stevenson's 'Air of Diabelli's', much warmer and more tranquil a poem (whatever Rupert Brooke is, he's never tranquil):


Call it to mind, O my love.
Dear were your eyes as the day,
Bright as the day and the sky;
Like the stream of gold and the sky above,
Dear were your eyes in the grey.
We have lived, my love, O, we have lived, my love!
Now along the silent river, azure
Through the sky's inverted image,
Softly swam the boat that bore our love,
Swiftly ran the shallow of our love
Through the heaven's inverted image,
In the reedy mazes round the river.
See along the silent river,

See of old the lover's shallop steer.
Berried brake and reedy island,
Heaven below and only heaven above.
Through the sky's inverted image
Swiftly swam the boat that bore our love.
Berried brake and reedy island,
Mirrored flower and shallop gliding by.
All the earth and all the sky were ours,
Silent sat the wafted lovers,
Bound with grain and watched by all the sky,
Hand to hand and eye to . . . eye.

Days of April, airs of Eden,
Call to mind how bright the vanished angel hours,
Golden hours of evening,
When our boat drew homeward filled with flowers.
O darling, call them to mind; love the past, my love.
Days of April, airs of Eden.
How the glory died through golden hours,
And the shining moon arising;
How the boat drew homeward filled with flowers.
Age and winter close us slowly in.

Level river, cloudless heaven,
Islanded reed mazes, silver weirs;
How the silent boat with silver
Threads the inverted forest as she goes,
Broke the trembling green of mirrored trees.
O, remember, and remember
How the berries hung in garlands.

Still in the river see the shallop floats.
Hark! Chimes the falling oar.
Still in the mind
Hark to the song of the past!
Dream, and they pass in their dreams.

Those that loved of yore, O those that loved of yore!
Hark through the stillness, O darling, hark!
Through it all the ear of the mind

Knows the boat of love. Hark!
Chimes the falling oar.

O half in vain they grew old.

Now the halcyon days are over,
Age and winter close us slowly round,
And these sounds at fall of even
Dim the sight and muffle all the sound.
And at the married fireside, sleep of soul and sleep of fancy,
Joan and Darby.
Silence of the world without a sound;
And beside the winter faggot

Joan and Darby sit and dose and dream and wake -
Dream they hear the flowing, singing river,
See the berries in the island brake;
Dream they hear the weir,
See the gliding shallop mar the stream.
Hark! in your dreams do you hear?

Snow has filled the drifted forest;
Ice has bound the . . . stream.
Frost has bound our flowing river;
Snow has whitened all our island brake.

Berried brake and reedy island,
Heaven below and only heaven above azure
Through the sky's inverted image
Safely swam the boat that bore our love.
Dear were your eyes as the day,
Bright ran the stream, bright hung the sky above.
Days of April, airs of Eden.
How the glory died through golden hours,
And the shining moon arising,
How the boat drew homeward filled with flowers.
Bright were your eyes in the night:
We have lived, my love;
O, we have loved, my love.
Now the . . . days are over,
Age and winter close us slowly round.

Vainly time departs, and vainly
Age and winter come and close us round.

Hark the river's long continuous sound.

Hear the river ripples in the reeds.

Lo, in dreams they see their shallop
Run the lilies down and drown the weeds
Mid the sound of crackling faggots.
So in dreams the new created
Happy past returns, to-day recedes,
And they hear once more,

From the old years,
Yesterday returns, to-day recedes,
And they hear with aged hearing warbles

Love's own river ripple in the weeds.
And again the lover's shallop;
Lo, the shallop sheds the streaming weeds;
And afar in foreign countries
In the ears of aged lovers.

And again in winter evens
Starred with lilies . . . with stirring weeds.
In these ears of aged lovers
Love's own river ripples in the reeds.



Wednesday, 11 April 2012

Some white tremendous daybreak

J. M. W. Turner, Dawn after the Wreck (c.1841)


Second Best

Rupert Brooke, 1908


Here in the dark, O heart;
Alone with the enduring Earth, and Night,
And Silence, and the warm strange smell of clover;
Clear-visioned, though it break you; far apart
From the dead best, the dear and old delight;
Throw down your dreams of immortality,
O faithful, O foolish lover!
Here's peace for you, and surety; here the one
Wisdom - the truth! - "All day the good glad sun
Showers love and labour on you, wine and song;
The greenwood laughs, the wind blows, all day long
Till night." And night ends all things.
Then shall be
No lamp relumed in heaven, no voices crying,
Or changing lights, or dreams and forms that hover!
(And, heart, for all your sighing,
That gladness and those tears are over, over.... )

And has the truth brought no new hope at all,
Heart, that you're weeping yet for Paradise?
Do they still whisper, the old weary cries?
"Mid youth and song, feasting and carnival,
Through laughter, through the roses, as of old
Comes Death, on shadowy and relentless feet,
Death, unappeasable by prayer or gold;
Death is the end, the end!"
Proud, then, clear-eyed and laughing, go to greet
Death as a friend!

Exile of immortality, strongly wise,
Strain through the dark with undesirous eyes
To what may lie beyond it. Sets your star,
O heart, for ever! Yet, behind the night,
Waits for the great unborn, somewhere afar,
Some white tremendous daybreak. And the light,
Returning, shall give back the golden hours,
Ocean a windless level, Earth a lawn
Spacious and full of sunlit dancing-places,
And laughter, and music, and, among the flowers,
The gay child-hearts of men, and the child-faces
O heart, in the great dawn!

Wednesday, 7 March 2012

Time Stops: 'Meeting Point' and 'Dining-Room Tea'

I feel I've been posting a lot about the passage of time, which is something which I think about pretty much constantly (it's sort of my job). But here are two poems about time stopping, just for a moment.


Dining-Room Tea

Rupert Brooke


When you were there, and you, and you,
Happiness crowned the night; I too,
Laughing and looking, one of all,
I watched the quivering lamplight fall
On plate and flowers and pouring tea
And cup and cloth; and they and we
Flung all the dancing moments by
With jest and glitter. Lip and eye
Flashed on the glory, shone and cried,
Improvident, unmemoried;
And fitfully and like a flame
The light of laughter went and came.
Proud in their careless transience moved
The changing faces that I loved.

Till suddenly, and otherwhence,
I looked upon your innocence.
For lifted clear and still and strange
From the dark woven flow of change
Under a vast and starless sky
I saw the immortal moment lie.
One Instant I, an instant, knew
As God knows all. And it and you
I, above Time, oh, blind! could see
In witless immortality.

I saw the marble cup; the tea,
Hung on the air, an amber stream;
I saw the fire's unglittering gleam,
The painted flame, the frozen smoke.
No more the flooding lamplight broke
On flying eyes and lips and hair;
But lay, but slept unbroken there,
On stiller flesh, and body breathless,
And lips and laughter stayed and deathless,
And words on which no silence grew.
Light was more alive than you.

For suddenly, and otherwhence,
I looked on your magnificence.
I saw the stillness and the light,
And you, august, immortal, white,
Holy and strange; and every glint
Posture and jest and thought and tint
Freed from the mask of transiency,
Triumphant in eternity,
Immote, immortal.

Dazed at length
Human eyes grew, mortal strength
Wearied; and Time began to creep.
Change closed about me like a sleep.
Light glinted on the eyes I loved.
The cup was filled. The bodies moved.
The drifting petal came to ground.
The laughter chimed its perfect round.
The broken syllable was ended.
And I, so certain and so friended,
How could I cloud, or how distress,
The heaven of your unconsciousness?
Or shake at Time's sufficient spell,
Stammering of lights unutterable?
The eternal holiness of you,
The timeless end, you never knew,
The peace that lay, the light that shone.
You never knew that I had gone
A million miles away, and stayed
A million years. The laughter played
Unbroken round me; and the jest
Flashed on. And we that knew the best
Down wonderful hours grew happier yet.
I sang at heart, and talked, and eat,
And lived from laugh to laugh, I too,
When you were there, and you, and you.



and:


Meeting Point

Louis MacNeice


Time was away and somewhere else,
There were two glasses and two chairs
And two people with the one pulse
(Somebody stopped the moving stairs)
Time was away and somewhere else.

And they were neither up nor down;
The stream's music did not stop
Flowing through heather, limpid brown,
Although they sat in a coffee shop
And they were neither up nor down.

The bell was silent in the air
Holding its inverted poise -
Between the clang and clang a flower,
A brazen calyx of no noise:
The bell was silent in the air.

The camels crossed the miles of sand
That stretched around the cups and plates;
The desert was their own, they planned
To portion out the stars and dates:
The camels crossed the miles of sand.

Time was away and somewhere else.
The waiter did not come, the clock
Forgot them and the radio waltz
Came out like water from a rock:
Time was away and somewhere else.

Her fingers flicked away the ash
That bloomed again in tropic trees:
Not caring if the markets crash
When they had forests such as these,
Her fingers flicked away the ash.

God or whatever means the Good
Be praised that time can stop like this,
That what the heart has understood
Can verify in the body's peace
God or whatever means the Good.

Time was away and she was here
And life no longer what it was,
The bell was silent in the air
And all the room one glow because
Time was away and she was here.


Here's 'Meeting Point' as read by MacNeice (ignore the video). One of the things I like about both these poems is that while they are about freezing a single moment of time, they also encapsulate, perfectly though inadvertently, their own time-periods: an Edwardian tea-party of 1911, all china cups and flowers and firelight, and the glamorous 1930s, escalators and a radio waltz and cigarette-smoke. And markets crashing, of course. That verse, which I think is my favourite, always reminds me of this Gershwin song:

Saturday, 11 February 2012

He Wonders Whether To Praise or Blame Her


I have peace to weigh your worth, now all is over,
But if to praise or blame you, cannot say.
For, who decries the loved, decries the lover;
Yet what man lauds the thing he's thrown away?

Be you, in truth, this dull, slight, cloudy naught,
The more fool I, so great a fool to adore;
But if you're that high goddess once I thought,
The more your godhead is, I lose the more.

Dear fool, pity the fool who thought you clever!
Dear wisdom, do not mock the fool that missed you!
Most fair, -- the blind has lost your face for ever!
Most foul, -- how could I see you while I kissed you?

So . . . the poor love of fools and blind I've proved you,
For, foul or lovely, 'twas a fool that loved you.

Tuesday, 10 January 2012

When I wake, when I wake


Sometimes even now I may
Steal a prisoner's holiday,
Slip, when all is worst, the bands,
Hurry back, and duck beneath
Time's old tyrannous groping hands,
Speed away with laughing breath
Back to all I'll never know,
Back to you, a year ago.

Truant there from Time and Pain,
What I had, I find again:
Sunlight in the boughs above,
Sunlight in your hair and dress,
The hands too proud for all but Love,
The Lips of utter kindliness,
The Heart of bravery swift and clean
Where the best was safe, I knew,
And laughter in the gold and green,
And song, and friends, and ever you
With smiling and familiar eyes,
You - but friendly: you - but true.

And Innocence accounted wise,
And Faith the fool, the pitiable.
Love so rare, one would swear
All of earth for ever well -
Careless lips and flying hair,
And little things I may not tell.

It does but double the heart-ache
When I wake, when I wake.


Rupert Brooke

Tuesday, 3 January 2012

The Song of the Pilgrims: 'O Thou, God of all long desirous roaming'



The Song of the Pilgrims
Rupert Brooke

(Halted around the fire by night, after moon-set, they sing this beneath the trees)

What light of unremembered skies
Hast thou relumed within our eyes,
Thou whom we seek, whom we shall find? . . .
A certain odour on the wind,
Thy hidden face beyond the west,
These things have called us; on a quest
Older than any road we trod,
More endless than desire. . . .

Far God,
Sigh with thy cruel voice, that fills
The soul with longing for dim hills
And faint horizons! For there come
Grey moments of the antient dumb
Sickness of travel, when no song
Can cheer us; but the way seems long;
And one remembers. . . .

Ah! the beat
Of weary unreturning feet,
And songs of pilgrims unreturning! . . .
The fires we left are always burning
On the old shrines of home. Our kin
Have built them temples, and therein
Pray to the Gods we know; and dwell
In little houses lovable,
Being happy (we remember how!)
And peaceful even to death. . . .

O Thou,
God of all long desirous roaming,
Our hearts are sick of fruitless homing,
And crying after lost desire.
Hearten us onward! as with fire
Consuming dreams of other bliss.
The best Thou givest, giving this
Sufficient thing - to travel still
Over the plain, beyond the hill,
Unhesitating through the shade,
Amid the silence unafraid,
Till, at some sudden turn, one sees
Against the black and muttering trees
Thine altar, wonderfully white,
Among the Forests of the Night.


For some reason these days between the New Year and the Epiphany, for me, are about journeying - a memory from childhood, the little bright kings edging daily closer to the rest of the nativity set. The best poetry about the Epiphany (this, for instance) is about the journey, theirs and ours, and the guiding star and the lengthy way; shepherds rush, but the kings have to take their time. 'The Song of the Pilgrims' is not an Epiphany poem, but it's a song of journeying and therefore, I think, appropriate for this season. It's also perhaps the closest thing to a religious poem Rupert Brooke ever wrote (he was generally a sceptic about religion, as poems like this one suggest); despite this, it's not uncharacteristic of him in theme or expression. It was written in 1907, when Brooke was twenty.

Thursday, 17 November 2011

The One Before The Last

This poem is Rupert Brooke at his most boyish, bless him.


The One Before The Last

I dreamt I was in love again
With the One Before the Last,
And smiled to greet the pleasant pain
Of that innocent young past.

But I jumped to feel how sharp had been
The pain when it did live,
How the faded dreams of Nineteen-ten
Were Hell in Nineteen-five.

The boy’s woe was as keen and clear,
The boy’s love just as true,
And the One Before the Last, my dear,
Hurt quite as much as you.

Sickly I pondered how the lover
Wrongs the unanswering tomb,
And sentimentalizes over
What earned a better doom.

Gently he tombs the poor dim last time,
Strews pinkish dust above,
And sighs, “The dear dead boyish pastime!
But this—ah, God!—is Love!”

—Better oblivion hide dead true loves,
Better the night enfold,
Than men, to eke the praise of new loves,
Should lie about the old!

Oh! bitter thoughts I had in plenty.
But here’s the worst of it—
I shall forget, in Nineteen-twenty,
You ever hurt a bit!



Brooke did not live to see 1920, however; he died on 23 April, 1915.

Saturday, 5 November 2011

Wanderers in the middle mist


I think this is the poem which C. S. Lewis' 'As the Ruin Falls' was reminding me of the other day.


I said I splendidly loved you
Rupert Brooke

I said I splendidly loved you; it’s not true.
Such long swift tides stir not a land-locked sea.
On gods or fools the high risk falls—on you—
The clean clear bitter-sweet that’s not for me.
Love soars from earth to ecstasies unwist.
Love is flung Lucifer-like from Heaven to Hell.
But—there are wanderers in the middle mist,
Who cry for shadows, clutch, and cannot tell
Whether they love at all, or, loving, whom:
An old song’s lady, a fool in fancy dress,
Or phantoms, or their own face on the gloom;
For love of Love, or from heart’s loneliness.
Pleasure’s not theirs, nor pain. They doubt, and sigh,
And do not love at all. Of these am I.

Monday, 17 October 2011

But the white fire of moonlight, And a white dream of you


This is a poem called 'Finding', by Rupert Brooke. A fair number of his poems have the speaker addressing a sleeping lover, sometimes scornfully, sometimes with reverence; I wouldn't like to speculate on why! But this is a very lovely example, full of shadows and moonlight.


From the candles and dumb shadows,
And the house where love had died,
I stole to the vast moonlight
And the whispering life outside.
But I found no lips of comfort,
No home in the moon's light
(I, little and lone and frightened
In the unfriendly night),
And no meaning in the voices. . . .
Far over the lands and through
The dark, beyond the ocean,
I willed to think of YOU!
For I knew, had you been with me
I'd have known the words of night,
Found peace of heart, gone gladly
In comfort of that light.

Oh! the wind with soft beguiling
Would have stolen my thought away;
And the night, subtly smiling,
Came by the silver way;
And the moon came down and danced to me,
And her robe was white and flying;
And trees bent their heads to me
Mysteriously crying;
And dead voices wept around me;
And dead soft fingers thrilled;
And the little gods whispered. . . .
But ever
Desperately I willed;
Till all grew soft and far
And silent . . .
And suddenly
I found you white and radiant,
Sleeping quietly,
Far out through the tides of darkness.
And I there in that great light
Was alone no more, nor fearful;
For there, in the homely night,
Was no thought else that mattered,
And nothing else was true,
But the white fire of moonlight,
And a white dream of you.

Thursday, 11 August 2011

"O heart, I do not dare go empty-hearted"

Today I'm in the mood for a random Rupert Brooke poem. This is called 'The Busy Heart'. He was good at list poems (as in this lovely poem) - who was it who said that "the greatest of poems is an inventory"? Chesterton, I think, though I can't remember in what connection. Rupert Brooke and various jazz songs convinced me that he was on to something.

The Busy Heart

Now that we've done our best and worst, and parted,
I would fill my mind with thoughts that will not rend.
(O heart, I do not dare go empty-hearted)
I'll think of Love in books, Love without end;
Women with child, content; and old men sleeping;
And wet strong ploughlands, scarred for certain grain;
And babes that weep, and so forget their weeping;
And the young heavens, forgetful after rain;
And evening hush, broken by homing wings;
And Song's nobility, and Wisdom holy,
That live, we dead. I would think of a thousand things,
Lovely and durable, and taste them slowly,
One after one, like tasting a sweet food.
I have need to busy my heart with quietude.


Monday, 27 June 2011

Three Thoughts: On the Consolations of Nature


First, Pride and Prejudice, chapter 27:

Before they were separated by the conclusion of the play, she had the unexpected happiness of an invitation to accompany her uncle and aunt in a tour of pleasure which they proposed taking in the summer.

"We have not quite determined how far it shall carry us," said Mrs. Gardiner, "but perhaps to the Lakes."

No scheme could have been more agreeable to Elizabeth, and her acceptance of the invitation was most ready and grateful. "My dear, dear aunt," she rapturously cried, "what delight! what felicity! You give me fresh life and vigour. Adieu to disappointment and spleen. What are men to rocks and mountains? Oh! what hours of transport we shall spend!"

Edward Thomas:

Beauty


What does it mean? Tired, angry, and ill at ease,
No man, woman, or child alive could please
Me now. And yet I almost dare to laugh
Because I sit and frame an epitaph --
'Here lies all that no one loved of him
And that loved no one.' Then in a trice that whim
Has wearied. But, though I am like a river
At fall of evening while it seems that never
Has the sun lighted it or warmed it, while
Cross breezes cut the surface to a file,
This heart, some fraction of me, happily
Floats through the window even now to a tree
Down in the misting, dim-lit, quiet vale,
Not like a pewit that returns to wail
For something it has lost, but like a dove
That slants unswerving to its home and love.
There I find my rest, and through the dusk air
Flies what yet lives in me. Beauty is there.


And Rupert Brooke:

Pine Trees and the Sky: Evening

I'd watched the sorrow of the evening sky,
And smelt the sea, and earth, and the warm clover,
And heard the waves, and the seagull's mocking cry.

And in them all was only the old cry,
That song they always sing - 'The best is over!
You may remember now, and think, and sigh.'
And I was tired and sick that all was over,
And because I,
For all my thinking, never could recover,
One moment of the good hours that were over.
And I was sorry and sick, and wished to die.

Then from the sad west turning wearily,
I saw the pines against the white north sky,
Very beautiful, and still, and bending over
Their sharp heads against a quiet sky.
And there was peace in them; and I
Was happy, and forgot to play the lover,
And laughed, and did no longer wish to die;
Being glad of you, O pine trees and the sky!

Saturday, 25 June 2011

The Chilterns

Dear, silly Rupert Brooke! I think this is one of his best poems, though.


Your hands, my dear, adorable,
Your lips of tenderness
--Oh, I've loved you faithfully and well,
Three years, or a bit less.
It wasn't a success.

Thank God, that's done! and I'll take the road,
Quit of my youth and you,
The Roman road to Wendover
By Tring and Lilley Hoo,
As a free man may do.

For youth goes over, the joys that fly,
The tears that follow fast;
And the dirtiest things we do must lie
Forgotten at the last;
Even love goes past.

What's left behind I shall not find,
The splendor and the pain;
The splash of sun, the shouting wind,
And the brave sting of rain,
I may not meet again.

But the years, that take the best away,
Give something in the end;
And a better friend than love have they,
For none to mar or mend,
That have themselves to friend.

I shall desire and I shall find
The best of my desires;
The autumn road, the mellow wind
That soothes the darkening shires.
And laughter, and inn-fires.

White mist about the black hedgerows,
The slumbering Midland plain,
The silence where the clover grows,
And the dead leaves in the lane,
Certainly, these remain.

And I shall find some girl perhaps,
And a better one than you,
With eyes as wise, but kindlier,
With lips as soft, but true.
And I daresay she will do.