Category Archives: my Dad

My Dad, Fred, and his favourite poetry (3)

Fred had two poems which he really enjoyed. I’m not so sure now that they didn’t both of them portray him as a man with a drink problem, insofar as they both have strong connections with establishments which sold alcohol, quite possibly in large quantities.

Anyway, the first poem of the two is called “Tarantella” and was written by Hilaire Belloc. The tarantella is a dance for two people which is supposed to mimic musically the very strong jerking spasms brought on by the bite of the wolf spider. The latter is a very large spider, but have no fear, there will be no pictures of arachnids here. Instead, just happy people enjoying a dance:

Those “strong spasms”, incidentally, are supposedly paralleled psychologically by the extreme emotions of falling in love.  In terms of the spider’s poison, however, love won’t stop the effects of the bite. Only dancing around like some kind of mad person can prevent the death of whoever has been bitten.

Here’s the first bit, a masterpiece of juggling with words, as the author tries to take Miranda back in time to one hell of a night that they shared years ago:

Do you remember an Inn, Miranda?
Do you remember an Inn?
And the tedding and the spreading of the straw
for a bedding,
And the fleas that tease in the High Pyrenees,
And the wine that tasted of tar,
And the cheers and the jeers of the young
muleteers
Under the vine of the dark veranda?
Do you remember an Inn, Miranda?
Do you remember an Inn?
And the cheers and the jeers of the young
muleteers
Who hadn’t got a penny,
And who weren’t paying any,
And the hammer at the doors and the din;
And the Hip! Hop! Hap!
Of the clap
Of the hands to the twirl and the swirl
Of the girl gone chancing,
Glancing,
Dancing,
Backing and advancing,
Snapping of the clapper to the spin,
Out and in
And the Ting! Tong! Tang! of the guitar?
Do you remember an Inn, Miranda?
Do you remember an Inn?
The next five lines of the poem show, though, how that memorable night of years ago has disappeared for ever into the past, and, like all our experiences as human beings, it can never be recreated, however hard we try:
  Never more;
Miranda,
Never more.
Only the high peaks hoar:
And Aragon a torrent at the door.

One critic, Oli Foster, has called the last twelve lines of the poem “a lament for all lost experience.” The poem finishes with the even more pessimistic final seven lines…

No sound
    In the walls of the Halls where falls
    The tread
    Of the feet of the dead to the ground
    No sound:
    But the boom
    Of the far Waterfall like Doom.

One final fact is that we actually know the identity of “Miranda”. She was Miranda Mackintosh, a Scottish lady, and Belloc met her during a walking holiday, at the hamlet of Canranc on the River Aragon in the Pyrenees in 1909.

Belloc wrote the poem in 1929 as a souvenir for Ms Mackintosh and he gave it to her as a New Year’s present.

Belloc in his private life was a very controversial character and in articles I have read about anti-Semitic poets, his name unfailingly crops up, usually fairly early in the list. His other political views are, to me personally, quite extraordinary. One of the best things to read that I found was here. Another point of view is his Wikipedia page .

Next time, we’ll look at the other one of the two poems my Dad, Fred, enjoyed so much.

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My Dad, Fred, and his favourite poetry (2)

Last time, I told you my Dad’s three favourite lines of poetry, which he would quote out loud at what he thought was the right moment.

Any mention of autumn, in any context, in real life, on TV, the fact that it was October, any of those would produce Keats’ line:

“Season of mists and mellow fruitfulness”

Sometimes he would manage the second line after it:

“Close bosom-friend of the maturing sun”

Any bird high up in the sky, perhaps a skylark but definitely not an eagle, pigeon or airliner would produce Shelley’s line:

“Hail to thee, blithe Spirit!

Bird thou never wert,”

And then, Fred’s improvement on the lines by William Henry Davies:

“What is this life if so full of care, we have no time to stand and stare ? ”

Any mention of ships though, either in real life or on television, would set him off with some phrases, or even a couple of lines, from another of Fred’s favourite poets, namely John Masefield. All the family, therefore, soon became familiar with the various vessels of his poem “Cargoes”, and their home ports.  There was a “quinquireme of Nineveh ” and a “ stately Spanish galleon coming from the Isthmus ” or, much more more likely in the North Sea off Skegness or Scarborough, perhaps, a “ dirty British coaster with a salt-caked smoke stack. ”

The first verse was a

“Quinquireme of Nineveh from distant Ophir,
Rowing home to haven in sunny Palestine,
With a cargo of ivory,
And apes and peacocks,
Sandalwood, cedarwood, and sweet white wine.”

The second verse was equally exotic:

“Stately Spanish galleon coming from the Isthmus,
Dipping through the Tropics by the palm-green shores,
With a cargo of diamonds,
Emeralds, amythysts,
Topazes, and cinnamon, and gold moidores.”

And here’s that very galleon:

In contrast, though, the third, and last, verse is about a ship of a much humbler origin:

“Dirty British coaster with a salt-caked smoke stack,
Butting through the Channel in the mad March days,
With a cargo of Tyne coal,
Road-rails, pig-lead,
Firewood, iron-ware, and cheap tin trays.”

And here it is:

And now, some of the meanings:

Nineveh was the ancient capital of Assyria. You can see its ruins on the opposite bank of the River Tigris from Mosul, in northern Iraq.

Ophir was probably one of the many empires which flourished either on the banks of the Nile or in the Horn of Africa. King Solomon received a cargo from Ophir every three years. It was a consignment of gold, silver, sandalwood, pearl, ivory, apes, and peacocks. Presumably, the quinqireme in the poem was on its way to Israel.

Amethyst is a violet variety of quartz. The name comes from the Greek “αμέθυστος“.

Moidores were a Portuguese gold coin of the early 18th century and then worth about 27 shillings.

Topaz is a silicate mineral of aluminium and fluorine with the chemical formula Al2SiO4(F, OH)2. Topaz crystallizes in the orthorhombic system, and its crystals are mostly prismatic terminated by pyramidal and other faces. (There will be a test next Monday).

As a preliminary to the test, which one is which? Moidores? Topaz? Amethyst?

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My Dad, Fred, and his favourite poetry (1)

My Grandfather, Will, had apparently always loved poetry, and in this respect, his son, and my Dad, Fred, was to follow willingly in his father’s footsteps. This burgeoning love of rhyme was nurtured and encouraged by the fact that, like many children in the British Empire, Fred possessed a set of  “The Children’s Encyclopedia” by Arthur Mee, a famous, familiar and popular book of the 1930s:

Arthur Mee believed that the English, and in particular the English boy, were the “peak of creation”, although my mother, well familiar both with me and her husband, thought he was a madman. Each volume of Mee’s ten volume set of encyclopedias contained sixteen different themes or subjects and great prominence was always given to the Poetry sections, which were selected by Sir John Hammerton, a famous contemporary historian. Fred also liked the dinosaur pictures too:

Fred would often quote poetry, and his three favourite lines were……

“Season of mists and mellow fruitfulness ”

This is a line of Keats which was automatically triggered by any mention whatsoever of autumn. Or by a walk into a wood in autumn. Or a TV programme about autumn.

Keats’ best pal, Shelley, wrote the lines which are in second place:

“Hail to thee, blithe Spirit!

Bird thou never wert,”

These words would invariably emerge should any sighting of a skylark occur, perhaps during a walk alongside a field of corn. Quite often, it would be just any bird seen to be doing skylarky type things:

In third place came the rather wise, and arguably, slightly incorrect ……

“What is this life if so full of care,

We have no time to stand and stare ? ”

The correct version has no “so” and, surprisingly, no question mark:

“What is this life if,  full of care,

We have no time to stand and stare. ”

The poem was written by William H Davies, a Welsh poet, who spent many years as a tramp or hobo, in the United Kingdom and the United States. Presumably my Dad did not know that he was Welsh. Being Welsh was never a plus point with my Dad.

Fred always professed that his favourite poet was John Clare.  You can read about him in one of my early and probably over long posts, here.

And this is John Clare, perhaps “before” and “after” the boiled egg hairstyle became popular:

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In retrospect, I have always felt that Fred saw Clare as the simple, agricultural working class man, held firmly in his place in a world dominated by the upper classes, who were, for the most part as poets, fairly worthless and useless aesthetes, lacking Clare’s poetic talents, his intelligence and his capacity for accurate observation of the world around him. Perhaps too, as a native of the simple country village of Woodville, Fred could recognise the truth of the statement by Ronald Blythe, the President of the Clare Society, that the impoverished poet was “England’s most articulate village voice”.

It is not a giant leap, of course, to say that Fred probably saw his own life as directly paralleling that of Clare, denied as he was for purely financial reasons, the chance to go to a grammar school, and to have the same education as the more successful, and much less talented, upper class people that he would meet during the rest of his life, particularly in the RAF.

Given this love of John Clare, therefore, every time that he physically saw one running about, perhaps in a school playground when he was on yard duty, Fred would always identify this black and white bird as the “little trotty wagtail”, a phrase taken from one of Clare’s most frequently quoted poems:

Little trotty wagtail, he went in the rain,
And tittering, tottering sideways he near got straight again.
He stooped to get a worm, and look’d up to catch a fly,
And then he flew away ere his feathers they were dry.

Little trotty wagtail, he waddled in the mud,
And left his little footmarks, trample where he would.
He waddled in the water-pudge, and waggle went his tail,
And chirrupt up his wings to dry upon the garden rail.

Little trotty wagtail, you nimble all about,
And in the dimpling water-pudge you waddle in and out;
Your home is nigh at hand, and in the warm pigsty,
So little Master Wagtail, I’ll bid you a goodbye.

 

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