20 April: Telling the Truth IV: Poetry.

A few more thoughts on telling the truth. It is not just setting the facts down – that is always going to be a selective exercise, and an interpretive one, as I am discovering writing my biography of Arthur Hughes. Poetry is truth telling in yet another mode. Here is John Betjeman, sometime Poet Laureate:

What poetry is, I do not quite know. Maybe it is the right words in the right order. For me it requires rhythm and, as an extra flourish, rhyme. It is the shortest and the most memorable way of saying what you want said.

In Lovely bits of Old England. Gavin Fuller, Ed. London, Aurum, 2012.  P96.

Betjeman was building on a previous poet’s definition:

I wish our clever young poets would remember my homely definitions of prose and poetry; that is, prose,—words in their best order; poetry,—the best words in their best order.

 Samuel Taylor Coleridge

Note the link between Fran Horner’s quest for succinctness (see yesterday’s post) and Betjeman’s  ‘shortest and most memorable’ way of saying something!

With that, I’ll hush up!

MMB

Charlottenberg Park, Berlin.

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19 April: Telling the Truth III: Reliability

I recently read an article by a researcher at the John Rylands  Library, Manchester.   Fran Horner  tells about her work. Do follow the link, especially if you enjoy being surprised poetically, and to follow up the short extract here.

Ms Horner has this to say about a particular mode of telling the truth:

It has been interesting learning about what categories of information are essential for the catalogue, for example: publisher, year published, volume and editor are all extremely important; whether I liked or disliked the poems… not so important. I have also discovered things about the appropriate type of language and structure I must use within the catalogue: the language must be succinct and consistent to ensure its reliability and usefulness as a finding aid. In the future, researchers may be using my catalogue!

Note the duty not to misinform her readers; readers she will almost surely never meet!

Let us never be slapdash with regard to truth: we may feel we are telling the truth, but are our words -and actions – as Ms Horner says, reliable witnesses in other people’s ears and eyes?

MMB

The Reader, Zakopane, Poland.

18 April : A comforting doctrine: telling the truth in art. (Telling truth II)

Edward Ardizzone was employed as an official War Artist during World War II, serving in North Africa, including El Alamein, then the invasion of Italy and the Normandy Landings. How does an artist convey the horrors and humanity of War? Ardizzone’s soldiers and civilians are human, drawn with a loving understanding of our fallen but persistently rising nature. This picture shows a scene on the beaches during the Normandy Landings and is from the Imperial War Museum, released on the public domain.

A couple of months before he had confided in his diary:

[I] have a feeling that painters should not be interested in metaphysics – should be simple people entirely absorbed in what they do. If they are big themselves, what they do is big – if little, little; but only a matter of degree like major and minor poets and not to be bothered about. A comforting doctrine for me who am feeling incredibly small at the moment.

Let us pray that sometime today we may experience the grace of being entirely absorbed in what we do: loving what we do, as Ardizzone loved his work and the humans he was painting.

MMB.

Diary of a War Artist, Edward Ardizzone, Bodley Head, 1974. Worth seeking out.

12 April: A response to Christina Chase’s An Eve in Winter.

 

Dear Christina,

It’s an editor’s privilege to respond or comment on contributions sometimes: bear with me!

Your poem connects. It reminds me of  John Betjeman, writing in prose:

“Many people, when they enter a quiet room, automatically – even before shutting the door – rush to turn on the wireless as though quiet were as unhealthy as a cold draught.”

And there is Dylan Thomas’s ‘Bible-black night’ in Under Milk Wood, which is a time of creation, as is the dark you reference in Genesis. ‘Let there be light’ indeed, ‘Kindly Light, amid th’encircling gloom, Lead thou me on.’ (Newman, of course.)

Your light that is poor for hearing secrets is from the same well as Shakespeare’s,

The eye
of man hath not heard, the ear of man hath not
seen, hand is not able to taste, his tongue
to conceive, nor his heart to report, what my dream
was.

(Midsummer Night’s Dream, IV:2).

These lines are not slap-stick comic, however slap-stick Bottom is elsewhere. When we are challenged, do we admit it and explore it, or turn on the bright lights or loud music?

A lighthouse cannot lead if the captain is dazzled by floodlights.

I mentioned R.S. Thomas in my introduction. We read how he prayed at his holy well on 17 October 2016:

 Ignoring my image I peer down

to the quiet roots of it, where

the coins lie, the tarnished offerings

of the people to the pure spirit

that lives there.

 

Connections! Thank you again, for an offering by no means tarnished!

Will.

11 April: An Eve in Winter

 

 

Firstly, a poem from Christina. Although she has given it the Title ‘An Eve in Winter’, its theme of light, of gentle light not consumed by the darkness, resonates with our heroes RS Thomas and Dylan Thomas, poets from opposite ends of Wales. A response tomorrow.

 

 

When you enter a darkened room

and see a pool of moonlight on the floor,

do you wait to turn the lights on

so you can step into the glow?

 

I do.

 

For brightness can scare away the paler shades.

Though it is good for seeing definitions clearly and

avoiding stray furniture, it is poor for

hearing and keeping the secret

that’s whispered through tender starlight

 to waiting earth of snow.

 

When I say, “let there be light,”

smugly snapping on devices,

I cannot see beyond my own reflection

– blinded to that of the Divine.

 

© 2018 Christina Chase

 

Christina can be found at: https://divineincarnate.com

11 April: Easter Guests

Ignatius and Christina are good friends of this blog, they’ve followed us from our first few fumbling footsteps and are still alongside us. We’ve recently won their consent to adopt posts from their blogs for Agnellus Mirror where they look at darkness and light. That seemed appropriate for Eastertide, so that is when they are appearing. In excellent company with our resident poets Sheila and Sister Johanna – not to mention W.H. Davies.

So many thanks to both our friends for these blogs. In each case, there is a response from Will.

Ignatius can be found at: asalittlechild.wordpress.com

And Christina at: divineincarnate.com

Do drop in on them!

Paschal candles preserved at Canterbury Cathedral.

 

MMB.

9 April: Killed in action.

Edward Thomas died in battle on this day in 1917. He came late to poetry, as did W.H. Davies, who wrote this tribute to his friend. They were great walkers through the countryside, like these friends from L’Arche Kent. May we all walk in peace!

Happy the man whose home is still
In Nature’s green and peaceful ways;
To wake and hear the birds so loud,
That scream for joy to see the sun
Is shouldering past a sullen cloud.

And we have known those days, when we
Would wait to hear the cuckoo first;
When you and I, with thoughtful mind,
Would help a bird to hide her nest,
For fear of other hands less kind.

But thou, my friend, art lying dead:
War, with its hell-born childishness,
Has claimed thy life, with many more:
The man that loved this England well,
And never left it once before.

MMB.

 

 

6 April: The Passover Sequence III: The Road.

As soon as we heard the news

We went to her,

To sit with her,

Hold her,

Protect her.

But she did not lament,

Falter.

No tears, her face was set ….

…. her bearing!

Oh that you had seen her!

But the sorrow was deep in her eyes,

In the softness of her voice,

The finality of her hands

To embrace each one.

Then swiftly gathering her shawl

About her head she went …. out,

Out …

To meet her Son.

And we were left, bewildered,

Broken.

We could hear them coming,

Such noise,

Jeering, shouting,

You know what these mobs are like.

While she stood

In the middle of the road, alone,

Waiting!

Three crosses!

And so he came to his Mother,

Eyes, raised from the ground,

For her.

Steadily approaching.

The said he had already fallen twice

And they brought a man to help him.

He could have left them all

And run

To their meeting!

Oh that you had seen them! ….

The soldiers tried …. tried, to move them on.

While they stayed,

And looked,

And knew,

And parted.

She came to us at last.

He walked on,

Alone.

SPB.

Winchester Cathedral.

 

4 April: The Passover Sequence, Introduction.

 

A gift to share with you! We have received this Sequence of poems from Sheila; one a day for five days. Although they cover the last few days of the Lord, they all look towards Easter, so we are publishing in Eastertide where they make sense.

We hope they speak to at least some of our friends.

MMB.

1 April: Did it Rain that Morning ?

Did it Rain that Morning ?

How did the sun rise that morning?

Did it roar into the sky?

Did it dance, throwing its flames across the void?

Did it rain?

Surely it rained?

A penetrating April deluge,

Short, sweet, cleansing.

Penetrating like grief,

Like relief.

Did the wind blow?

With no-one to feel it lift the dirt, the dust,

Sweep clean,

Prepare the way.

The sun at darkness’ end.

The lightning, thunder.

Fit entrance to a forgiven world.

Fit entrance for a Prince, a Lord.

Did the birds and the creatures rejoice together?

The flowers tremble,

Their perfume astonish?

Till all ablaze,

You stepped forth

Accompanied by Angels,

And went your way, about your world.

Until the women came,

Looking,

Peering,

Anxious,

Worried.

All was calm again by then,

Nothing untoward,

Except that you had gone to Galilee

And left a message with an Angel.

 

SPB

Sister Johanna insisted, underlined and insisted, that we should publish this today. Of course she was right. Thanks, Mum! Maurice. (And it was raining on Wednesday in Holy Week at Canterbury Cathedral.)