Another poem by Cavafy.

HALF AN HOUR

I never had you, nor will I ever have you
I suppose. A few words, an approach
as in the bar yesterday, and nothing more.
It is, undeniably, a pity. But we who serve Art
sometimes with intensity of mind, and of course only
for a short while, we create pleasure
which almost seems real.
So in the bar the day before yesterday -- the merciful alcohol
was also helping much --
I had a perfectly erotic half-hour.
And it seems to me that you understood,
and stayed somewhat longer on purpose.
This was very necessary. Because
for all the imagination and the wizard alcohol,
I needed to see your lips as well,
I needed to have your body close.

Constantine P. Cavafy (1917)

I am continuing my theme of 'old age' with this poem by the Greek writer Constantine P. Cavafy (1863-1933).

At the back of the noisy café
bent over a table sits an old man;
a newspaper in front of him, without company.

AN OLD MAN

And in the scorn of his miserable old age
he ponders how little he enjoyed the years
when he had strength, and the power of the word, and good looks.

He knows he has aged much; he feels it, he sees it.
And yet the time he was young seems
like yesterday. How short a time, how short a time.

And he ponders how Prudence deceived him;
and how he always trusted her -- what a folly! --
that liar who said: "Tomorrow. There is ample time."

He remembers the impulses he curbed; and how much
joy he sacrificed. Every lost chance
now mocks his senseless wisdom.

...But from so much thinking and remembering
the old man gets dizzy. And falls asleep
bent over the café table.

Constantine P. Cavafy (1897)

Cavafy has come in recent years to be regarded as a the greatest Mediterranean poet of modern times.

(from 'Strengthening the Spirit', 1903)

Continuing my theme of 'growing old", I present today a poem by Matthew Arnold.

I am glad to say that, at almost 74, I do not share his views.

GROWING OLD

What is it to grow old?
Is it to lose the glory of the form,
The lustre of the eye?
Is it for beauty to forego her wreath?
Yes, but not for this alone.

Is it to feel our strength -
Not our bloom only, but our strength -decay?
Is it to feel each limb
Grow stiffer, every function less exact,
Each nerve more weakly strung?

Yes, this, and more! but not,
Ah, 'tis not what in youth we dreamed 'twould be!
'Tis not to have our life
Mellowed and softened as with sunset-glow,
A golden day's decline!

'Tis not to see the world
As from a height, with rapt prophetic eyes,
And heart profoundly stirred;
And weep, and feel the fulness of the past,
The years that are no more!

It is to spend long days
And not once feel that we were ever young.
It is to add, immured
In the hot prison of the present, month
To month with weary pain.

It is to suffer this,
And feel but half, and feebly, what we feel:
Deep in our hidden heart
Festers the dull remembrance of a change,
But no emotion -none.

It is -last stage of all -
When we are frozen up within, and quite
The phantom of ourselves,
To hear the world applaud the hollow ghost
Which blamed the living man.

Matthew Arnold

Although remembered now for his elegantly argued critical essays, Matthew Arnold (1822-1888) began his career as a poet, winning early recognition as a student at the Rugby School where his father, Thomas Arnold, had earned national acclaim as a strict and innovative headmaster.

It might be fairly urged that I have less poetical sentiment than Tennyson and less intellectual vigour and abundance than Browning; yet because I have perhaps more of a fusion of the two than either of them, and have more regularly applied that fusion to the main line of modern development, I am likely enough to have my turn as they have had theirs."

In September I shall become 74, so you must forgive me if, for a few days, the poems posted here will reflect on growing old.

I hope they will not be too maudlin or morbid.

Old Age Gets Up

Stirs its ashes and embers, its burnt sticks

An eye powdered over, half melted and solid again
Ponders
Ideas that collapse
At the first touch of attention

The light at the window, so square and so same
So full-strong as ever, the window frame
A scaffold in space, for eyes to lean on

Supporting the body, shaped to its old work
Making small movements in gray air
Numbed from the blurred accident
Of having lived, the fatal, real injury
Under the amnesia

Something tries to save itself-searches
For defenses-but words evade
Like flies with their own notions

Old age slowly gets dressed
Heavily dosed with death's night
Sits on the bed's edge

Pulls its pieces together
Loosely tucks in its shirt

Ted Hughes

Edward James Hughes OM (1930 – 1998) was an English poet and children's writer, known as Ted Hughes. Critics routinely rank him as one of the best poets of his generation. Hughes was British Poet Laureate from 1984 until his death.

(From Wikipedia)

Over the past few weeks I have featured the work of two of my favourite poets, Sara Teasdale and Thom Gunn.

It is difficult to find poets to replace them and, for the time being, I am moving away from the contemporary towards the classical, starting today with this poem by John Clare.

WHAT IS LIFE?

And what is Life? An hour-glass on the run,
A mist retreating from the morning sun,
A busy, bustling, still-repeated dream.
Its length? A minute's pause, a moment's thought.
And Happiness? A bubble on the stream,
That in the act of seizing shrinks to nought.

And what is Hope? The puffing gale of morn,
That of its charms divests the dewy lawn,
And robs each flow'ret of its gem -and dies;
A cobweb, hiding disappointment's thorn,
Which stings more keenly through the thin disguise.

And what is Death? Is still the cause unfound?
That dark mysterious name of horrid sound?
A long and lingering sleep the weary crave.
And Peace? Where can its happiness abound?
Nowhere at all, save heaven and the grave.

Then what is Life? When stripped of its disguise,
A thing to be desired it cannot be;
Since everything that meets our foolish eyes
Gives proof sufficient of its vanity.
'Tis but a trial all must undergo,
To teach unthankful mortals how to prize
That happiness vain man's denied to know,
Until he's called to claim it in the skies.

John Clare

John Clare (1793 – 1864) was an English poet, in his time commonly known as "the Northamptonshire Peasant Poet", born the son of a farm labourer at Helpston near Peterborough.

(From Wikipedia)

I have come to the end of my selection of poems witten by Thom Gunn.

Gunn died in April 2004, aged 74, and the following poem was written as a tribute to him.

Thom Gunn

He savored life and clung
To making every minute
Count - all the music sung -
And saw the sunlight in it.
He studied the wreckage life brings
To a lot of good people who got
Steamrolled by life, and he thought things
Could look better through a haze of pot,
Mescal or a bit of lysergic acid.
I mean, he felt, down deep, that love
Should be a fundamental thing of placid
Sharing of good will on earth and shove
The popcorn of bugging someone who's
Got a different way of making love
Or how they think or pick and choose -
He handled life's mysteries with velvet gloves.
He reduced the roiling turbulence of life
To gentle little puffs of breath -
Of love and memory and strife -
Of happy times, and loneliness - and death.
His eternal spirit couldn't die, we thought -
As he cursed the grey streaks in his hair
And the wrinkles 'round his eyes he fought -
After all, he was to our youthful era - heir.
His words were of earthly brotherhood -
Drawn with care from his flowing cup.
He lived his life as we wish we could:
Following dreams - and all the way up.

Tom Martin
April 2004

In this poem Gunn looks back over his life and friends.

MY SAD CAPTAINS

One by one they appear in
the darkness: a few friends, and
a few with historical
names. How late they start to shine!
but before they fade they stand
perfectly embodied, all

the past lapping them like a
cloak of chaos. They were men
who, I thought, lived only to
renew the wasteful force they
spent with each hot convulsion.
They remind me, distant now.

True, they are not at rest yet,
but now they are indeed
apart, winnowed from failures,
they withdraw to an orbit
and turn with disinterested
hard energy, like the stars.

Thom Gunn

The poem's title comes from Mark Antony in Shakespeare's play Antony and Cleopatra, Act 3, Scene 13.

During the evening before battle he says:

Come,
Let's have one other gaudy night: call to me
All my sad captains; fill our bowls once more;
Let's mock the midnight bell.

THE BUTCHER'S SON

Mr Pierce the butcher
Got news his son was missing
About a month before
The closing of the war.
A bald man, tall and careful,
He stood in his shop and found
No bottom to his sadness,
Nowhere for it to stop.
When my aunt came through the door
Delivering the milk,
He spoke, with his quiet air
Of a considerate teacher,
But words weren't up to it,
He turned back to the meat.

The message was in error.
Later that humid summer
At a local high school fete,
I saw, returned, the son
Still in his uniform.
Mr Pierce was not there
But was as if implied
In the son who looked like him
Except he had red hair.
For I recall him well
Encircled by his friends,
Beaming a life charged now
Doubly because restored,
And recall also how
Within his hearty smile
His lips contained his father's
Like a light within the light
That he turned everywhere.

Thom Gunn

BLACK JACKETS

In the silence that prolongs the span
Rawly of music when the record ends,
The red-haired boy who drove a van
In weekday overalls but, like his friends,

Wore cycle boots and jacket here
To suit the Sunday hangout he was in,
Heard, as he stretched back from his beer,
Leather creak softly round his neck and chin.

Before him, on a coal-black sleeve
Remote exertion had lined, scratched, and burned
Insignia that could not revive
The heroic fall or climb where they were earned.

On the other drinkers bent together,
Concocting selves for their impervious kit,
He saw it as no more than leather
Which, taught across the shoulders grown to it,

Sent through the dimness of a bar
As sudden and anonymous hints of light
As those that shipping give, that are
Now flickers in the Bay, now lost in sight.

He stretched out like a cat, and rolled
The bitterish taste of beer upon his tongue,
And listened to a joke being told:
The present was the things he stayed among.

If it was only loss he wore,
He wore it to assert, with fierce devotion,
Complicity and nothing more.
He recollected his initiation,

And one especially of the rites.
For on his shoulders they had put tattoos:
The group's name on the left, The Knights,
And on the right the slogan 'Born to Lose'.

Thom Gunn

Gunn was inspired to write this poem by a visit to the National Gallery of Art in Washington, D.C., where the painting was being shown in an exhibition.

It is now part of the permanent collection of the works of Edouard Vuillard at the National Gallery, London.

Two Women Drinking Coffee

PAINTING BY VUILLARD

Two dumpy women with buns were drinking coffee
In a narrow kitchen—at least I think a kitchen
And I think it was whitewashed, in spite of all the shade.
They were flat brown, they were as brown as coffee.
Wearing brown muslin? I really could not tell.
How I loved this painting, they had grown so old
That everything had got less complicated,
Brown clothes and shade in a sunken whitewashed kitchen.

But it’s not like that for me: age is not simpler
Or less enjoyable, not dark, not whitewashed.
The people sitting on the marble steps
Of the national gallery, people in the sunlight,
A party of handsome children eating lunch
And drinking chocolate milk, and a young woman
Whose t-shirt bears the defiant word WHATEVER,
And wrinkled folk with visored hats and cameras
Are vivid, they are not browned, not in the least,
But if they do not look like coffee they look
As pungent and startling as good strong coffee tastes,
Possibly mixed with chicory. And no cream

Thom Gunn

Click to enlarge

IN SANTA MARIA DEL POPOLO

Waiting for when the sun an hour or less
Conveniently oblique makes visible
The painting on one wall of this recess
By Caravaggio, of the Roman School,
I see how shadow in the painting brims
With a real shadow, drowning all shapes out
But a dim horse’s haunch and various limbs,
Until the very subject is in doubt.

But evening gives the act, beneath the horse
And one indifferent groom, I see him sprawl,
Foreshortened from the head, with hidden face,
Where he has fallen, Saul becoming Paul.
O wily painter, limiting the scene
From a cacophony of dusty forms
To the one convulsion, what is it you mean
In that wide gesture of the lifting arms?
No Ananias croons a mystery yet,
Casting the pain out under name of sin.
The painter saw what was, an alternate
Candour and secrecy inside the skin.
He painted, elsewhere, that firm insolent
Young whore in Venus’ clothes, those pudgy cheats,
Those sharpers; and was strangled, as things went,
For money, by one such picked off the streets.

I turn, hardly enlightened, from the chapel
To the dim interior of the church instead,
In which there kneel already several people,
Mostly old women: each head closeted
In tiny fists holds comfort as it can.
Their poor arms are too tired for more than this
-- For the large gesture of solitary man,
Resisting, by embracing, nothingness.

Thom Gunn

ON THE MOVE 'MAN, YOU GOTTA GO'

The blue jay scuffling in the bushes follows
Some hidden purpose, and the gush of birds
That spurts across the field, the wheeling swallows,
Have nested in the trees and undergrowth.
Seeking their instinct, or their pose, or both,
One moves with an uncertain violence
Under the dust thrown by a baffled sense
Or the dull thunder of approximate words.

On motorcycles, up the road, they come:
Small, black, as flies hanging in heat, the Boy,
Until the distance throws them forth, their hum
Bulges to thunder held by calf and thigh.
In goggles, donned impersonality,
In gleaming jackets trophied with the dust,
They strap in doubt--by hiding it, robust--
And almost hear a meaning in their noise.

Exact conclusion of their hardiness
Has no shape yet, but from known whereabouts
They ride, directions where the tires press.
They scare a flight of birds across the field:
Much that is natural, to the will must yield.
Men manufacture both machine and soul,
And use what they imperfectly control
To dare a future from the taken routes.

It is part solution, after all.
One is not necessarily discord
On Earth; or damned because, half animal,
One lacks direct instinct, because one wakes
Afloat on movement that divides and breaks.
One joins the movement in a valueless world,
Crossing it, till, both hurler and the hurled,
One moves as well, always toward, toward.

A minute holds them, who have come to go:
The self-denied, astride the created will.
They burst away; the towns they travel through
Are home for neither birds nor holiness,
For birds and saints complete their purposes.
At worse, one is in motion; and at best,
Reaching no absolute, in which to rest,
One is always nearer by not keeping still.

Thom Gunn

This poem, from Gunn's second collection, is his most famous piece, and among the best-known of all post-war poems.

One of the slimy creatures that may have left his trail across your life - as portrayed by Thom Gunn

CONSIDERING THE SNAIL

The snail pushes through a green
night, for the grass is heavy
with water and meets over
the bright path he makes, where rain
has darkened the earth's dark. He
moves in a wood of desire,

pale antlers barely stirring
as he hunts. I cannot tell
what power is at work, drenched there
with purpose, knowing nothing.
What is a snail's fury? All
I think is that if later

I parted the blades above
the tunnel and saw the thin
trail of broken white across
litter, I would never have
imagined the slow passion
to that deliberate progress.

Thom Gunn

CAT ISLAND

Cats met us at
the landing-place
reclining in the sun
to check us in
with a momentary glance,
concierges
of a grassy island.
(Attila's Throne,
the Devil's Bridge,
and "the best Byzantine
church in the world",
long saints admonitory
on kiln-like inner walls.)
And lunch in a shady court
where cats now
systematically worked
the restaurant, table
by table, gazing into eyes
pleading "I'm hungry
and I'm cute", reaching
front paws up to knees
and always getting
before zeroing in
on the next table, same
routine, same result.

Sensible bourgeois
wild-cats working
with the furred impudence
of those who don't pretend
to be other than whores,
they give you not
the semblance of love
but simply
a look at their beauty
in return for food.
Models, not escorts.
They lack, too,
the prostitute's self-pity,
being beyond shame.
And we lack
what they have.

Thom Gunn

TOUCH

You are already
asleep. I lower
myself in next to
you, my skin slightly
numb with the restraint
of habits, the patina of
self, the black frost
of outsideness, so that even
unclothed, it is
a resilient chilly
hardness, a superficially
malleable, dead
rubbery texture.

You are a mound
of bedclothes, where the cat
in sleep braces
its paws against your
calf through the blankets,
and kneads each paw in turn.

Meanwhile and slowly
I feel a is it
my own warmth surfacing or
the ferment of your whole
body that in darkness beneath
the cover is stealing
bit by bit to break
down that chill.

You turn and
hold me tightly, do
you know who
I am or am I
your mother or
the nearest human being to
hold on to in a
dreamed pogrom.

What I, now loosened,
sink into is an old
big place, it is
there already, for
you are already
there, and the cat
got there before you,
it is hard to locate.
What is more, the place is
not found but seeps
from our touch in
continuous creation, dark
enclosing cocoon round
ourselves alone, dark
wide realm where we
walk with everyone.

Thom Gunn

More Thom Gunn

It was your birthday, we had drunk and dined
Half of the night with our old friend
Who'd showed us in the end
To a bed I reached in one drunk stride.
Already I lay snug,
And drowsy with the wine dozed on one side.
I dozed, I slept. My sleep broke on a hug,
Suddenly, from behind,
In which the full lengths of our bodies pressed:
Your instep to my heel,
My shoulder-blades against your chest.
It was not sex, but I could feel
The whole strength of your body set,
Or braced, to mine,
And locking me to you
As if we were still twenty-two
When our grand passion had not yet
Become familial.
My quick sleep had deleted all
Of intervening time and place.
I only knew
The stay of your secure firm dry embrace.

Thom Gunn

Another typical poem by Tom Gunn, about a shadowy underworld at night in the city.



A MAP OF THE CITY

I stand upon a hill and see
A luminous country under me,
Through which at two the drunk sailor must weave;
The transient's pause, the sailor's leave.

I notice, looking down the hill,
Arms braced upon a window sill;
And on the web of fire escapes
Move the potential, the grey shapes.

I hold the city here, complete;
And every shape defined by light
Is mine, or corresponds to mine,
Some flickering or some steady shine.

This map is ground of my delight.
Between the limits, night by night,
I watch a malady's advance,
I recognize my love of chance.

By the recurrent lights I see
Endless potentiality,
The crowded, broken, and unfinished!
I would not have the risk diminished.

Thom Gunn

I am back from my short break and looking for interesting poetry.

Here is his poem about surfing.

It mounts at sea, a concave wall
Down-ribbed with shine,
And pushes forward, building tall
Its steep incline.

Then from their hiding rise to sight
Black shapes on boards
Bearing before the fringe of white
It mottles towards.

Their pale feet curled, they poise their weight
With a learn'd skill.
It is the wave they imitate
Keeps them so still.

The marbling bodies have become
Half wave, half men,
Grafted it seems by feet of foam
Some seconds, then,

Late as they can, they slice the face
In timed procession:
Balance is triumph in this place,
Triumph possession.

The mindless heave of which they rode
A fluid shelf
Breaks as they leave it, falls and, slowed,
Loses itself.

Clear, the sheathed bodies slick as seals
Loosen and tingle;
And by the board the bare foot feels
The suck of shingle.

They paddle in the shallows still;
Two splash each other;
They all swim out to wait until
The right waves gather.

Thom Gunn

I am taking a short break and there will be no further posts to this blog until Saturday July 14.

Please come back then.

Today I turn to another American poet, Corinne Roosevelt Robinson (1861 - 1933).

She married Douglas Robinson on April 29, 1882 and their marriage produced four children, one of whom (aged 20) committed suicide by jumping from his college dormitory window after a party.

WHICH

We ask that Love shall rise to the divine,
And yet we crave him very human, too;
Our hearts would drain the crimson of his wine,
Our souls despise him if he prove untrue!
Poor Love! I hardly see what you can do!
We know all human things are weak and frail,
And yet we claim that very part of you,
Then, inconsistent, blame you if you fail.
When you would soar, 't is we who clip your wings,
Although we weep because you faint and fall.
Alas! it seems we want so many things,
That no dear love could ever grant them all!
Which shall we choose, the human or divine,
The crystal stream, or yet the crimson wine?

Corinne Roosevelt Robinson

VOYAGE A L'INFINI

The swan existing
Is like a song with an accompaniment
Imaginary.
Across the grassy lake,
Across the lake to the shadow of the willows,
It is accompanied by an image,
— as by Debussy's
"Reflets dans l'eau".
The swan that is
Reflects
Upon the solitary water — breast to breast
With the duplicity:
"The other one!"
And breast to breast it is confused.
O visionary wedding! O stateliness of the procession!
It is accompanied by the image of itself
Alone.
At night
The lake is a wide silence,
Without imagination.

Walter Conrad Arensberg

Over the next two days I shall be posting a couple of poems by Walter Conrad Arensberg (1878 - 1954).

They donated their collection the Philadelphia Museum of Art including correspondence, ephemera, clippings, writings, personal and art collection records, and photographs documenting the couple's art collecting activities as well as their friendship with many important artists, writers and scholars.

From the Louise and Walter Arensberg Collection

DIALOGUE

Be patient, Life, when Love is at the gate,
And when he enters let him be at home.
Think of the roads that he has had to roam.
Think of the years that he has had to wait.

But if I let Love in I shall be late.
Another has come first—there is no room.
And I am thoughtful of the endless loom—
Let Love be patient, the importunate.

O Life, be idle and let Love come in,
And give thy dreamy hair that Love may spin.

But Love himself is idle with his song.
Let Love come last, and then may Love last long.

Be patient, Life, for Love is not the last.
Be patient now with Death, for Love has passed.

Walter Conrad Arensberg

I am bringing my selection of the work of Sara Teasdale to a close with this poem on a subject close to her heart.

Should you wish to read more, you will find 294 of her poems at:

http://poetry.poetryx.com/poets/74/

DEBT

What do I owe to you
Who loved me deep and long?
You never gave my spirit wings
Or gave my heart a song.
But oh, to him I loved
Who loved me not at all,
I owe the little open gate
That led thru heaven's wall.

Sara Teasdale