Chapter Six. The Wedding

This is chapter Six of LIAM GUILAR’S almost completed epic of Britain. Chapter One was published in Long Poem Magazine #25 Spring 2021, and Chapters TwoThreeFour and Five in The Brazen Head. For more information about Hengist, Vortigern and the Legendary History, see www.liamguilar.com

The story so far. Mid Fifth Century; Hengist and his brother Horsa have sailed to Britain where they have been taken on as mercenaries by Vortigern, the newly appointed leader of the Province. Having defeated an army of Picts, Hengist has tricked Vortigern’s son into giving him land where he has built a stronghold.

Holding a feast to celebrate its completion, he intends to use the opportunity to introduce his daughter, Rowena, to Vortigern.

At which point I part company with the Medieval Story Tellers. I don’t believe a hard-headed war lord would throw away everything he’d worked for in his rush to get his hands on his servant’s daughter. While the story of the King who throws away his kingdom for ‘the wrong woman’ repeats throughout medieval versions of the Legendary History, it’s hard to find an historical ruler of Britain before the thirteenth century who did it.

The Wasshail ceremony, central to the story of Vortigern, is possibly a memory of a very old English custom. 

Set up

Hengist’s hall, the feast raucous.

New arrivals at the long benches;

long haired, eager, boastful,

beside their wary British guests.


Behind a door, a room in candle light[i].

Shadows, female laughter. The maids

circle, bob and fuss, like dull moons

orbiting a blazing star. Rowena the still

pensive centre as clothing is adjusted.

They have sprinkled gold dust in her hair.

A jewelled necklace drags attention to her breasts.

A golden belt shows off her slender waist

and amplifies the outward flare of hips.

Hengist, watching from the door, sees her

for once, as any man sees any woman.

Knows lust will strangle Vortigern

and side step all his calculations.


Swats the unwanted images

that flicker bodies rutting on the furs.

What father wouldn’t trade his daughter for a kingdom?

What daughter wouldn’t for a crown?

But when she leaves this room,

she is no longer Hengist’s daughter

but the Wife of Vortigern the King.


Time to take the jewelled cup.

Surprised by her own fear,

thrown from this busy room

alone on the anticipated shore.

The boat has gone and left her here

in darkness. In the distance

Aestrild’s ghost grows restless[ii].


Her hands betray her, spilling wine.

The maids cower, apologizing.

While they clean the cup she will not look at him.

The second time her hands don’t shake.


No words. She moves towards the door.

If you would call her back, now is the time.

Hall-noise heralds the death of Hengist Father.

Who knew this could be so painful?


That she was beautiful,

no one who saw her will deny.

That it was beauty in excess

of human expectations,

all who saw her will attest.

That she was clever,

brave and loyal,

is yet to be revealed. 


As she entered the riot of the hall,

she infected it with silence.

A ripple of turning heads,

abandoned conversations.

Every man who saw her wanted her

but as she moved towards the King,

through the swamp of their desire,

their lust was spittle on a white-hot blade.

And though she moved with the grace of a swan on still water

he was a scarecrow staring at a golden avalanche

and she was the tidal wave bearing down on a mud brick wall.


She kneels before him and lifts the cup:

‘Lauerd king wæs hæil; For þine kime ich æm uæin.’


He looks up and she is sunlight exploding in his face,

shattering thought, making everything background 

only except her face in focus, the world its dull penumbra.


Turning to Keredic, who mistranslates shock

as linguistic incompetence

and launches into cultural explanations:


‘It is a custom, in the Saxon’s land

where ever a company gathers to drink,

friend greets friend and says:

Dear friend, be well. The other says, Drinc hail.

The one that has the cup, he drinks it up.

The cup’s refilled. He gives it his companion

and when the cup is brought,

they embrace each other thrice.

This is the practice in the Saxon’s land.

and thought a noble custom throughout Germany.’[iii]


Take the cup, kiss her, drink.

Her breath brushes his cheek.

Her soft lips taste of wine and metal.


Four story tellers all agree[iv]

this is where the Devil puts in an appearance

to mess with Vortigern,

overwhelming his common sense

with lust for a pagan girl.

It’s the adjective that horrifies.


A different Vortigern, emerging from his private earthquake,

green eyes, watching him, soft lips, another drink.

Stumbling out of incoherence,

he understands the myth of the medusa;

how looking at a woman can turn a man to stone.

Negotiations

He has to ask for something he could take:

his servant’s daughter. The power inversion

obvious to both of them, so to preserve the niceties

they pretend this was an accident,

that both of them are taken by surprise.

(No laughing please, this should be serious.)


My daughter? You want to marry her?

Vortigern pretends it is desire that speaks:

how beautiful etc, how desirable etc…

(As if it mattered what she looked like.)

Who would have thought, at his age,

he would be honoured.


Hengist pretending he must ask his brethren.

Then the haggling when they both know Kent

and Thanet are her bride price.

But Vortigern rejects the script.

Her Morning Gift, lands in the west,

in the hill country to its north.

Fine cloths, jewels from the east,

horses, saddles, oils. ‘Kent

is not mine to give.

Thanet’s already yours.

But if your sons will follow me

I will give them all the land

between the turf wall and the stone.’

And that shocks Hengist.

Wedding celebrations

Master Wace wrote: ‘He desired her in the morning when they met,

and had her that same night.’ Our Priest, horrified;

‘There were no Christian rites, no priest nor bishop,

he had her in the heathen fashion

took her maidenhead, defiled himself.’


But you don’t expect twelfth century clerics

to sympathise with physical desire.

Or recognise a business proposition.


They will always blame the woman. 


There will be a celebrant and a venue

appropriate for the ritual.

After the prayers and public promises;

feasting, dancing, speeching, drinking,

obligatory fornication with or without an audience.

‘After the feast they slept together’

is how Welsh story tellers described a wedding.


Was she frightened?

Embarrassed by your greed,

or did her own lust

shade the colour of her eyes?


Did you come to trade?

Or did you come to conquer?


There was a door, there must

have been a door. A room

with fittings, shapes, colours.

There was her body, a blur of

detail, memories, green eyes.


Reduced to naked ape with thumping heart.

The gravity of need, the greed of flesh for flesh.

Then clothed, walking in the daylight world

to find the keys to the castle have been pawned.

Bank, ditch and palisade redundant

and in the inner room, behind the locked door,

watched by the sleepless guard who lets no body enter, 

there’s a stranger in the dimmest corner

and a version of yourself you do not own.


Maelgywn of Gwynedd murders every woman

who shares his bed, refusing to accept

the obligations the act implies.

(And still finds willing takers

convinced the risk is worth the prize).

Cunnedagus of the Demetae 

gives such women to his retinue.


He was petrified.

Then she stepped out of her clothes,

stepped towards him,

breaking one spell

casting another.

Aubade

Familiar words in unfamiliar accents,

soft, golden, fragrant, warm.


We are not children playing in a sandpit

ruling our private universe

with plastic armies that can be replaced,

where cities made of sand can be destroyed

and then rebuilt, forgetting that the adults

will call us in and put an end to all our games.


The world won’t wait for us.

While bodies are engaged,

the mind in search of answers

slips into the darkness

where the Latin titles drift

like burnt pages on the breeze,

past broken statues of dead men

whose names have been forgotten;

through ruined halls and shattered walls:

discarded answers that no longer satisfy.


No matter how delirious the frenzied shoving match

(soft, fragrant, warm) the mind drifts on alone,

in the high passes above the snowline,

looking down into the valleys

to the interminable journey

and fading fast the certainty

that there is an end to travelling

where the answers can be found

soft fragrant adequate and warm.

Stay with me?

He leaves the golden marvel on the furs

and searches for his clothes.

She stretches, mutters, ‘Stay with me.

Sleep here.’ He hesitates.


Locrin tightening his belt,

steps outside the earth house

into the frost of a winter’s morning,

as the whalebone doors slide shut

on his desire.


The great gates of Tintagel grinding shut

behind a man who runs

before his lover can discover who he is.[v]


Both wanting to say, take me back,

before the fog has lifted from the river

or the ice has melted on the castle gate.

Their minds are filled from dawn to dusk

with fantasies of welcome;

blinking, baffled, overjoyed,

as the great gate swings open

the whalebone door is moved aside,

as if the hind will greet the hound

that runs it down to rip its throat out.


He is not suffering from their disease.

Flesh calling to the memory of flesh,

promising oblivion and pleasure.

But there are things he has to do.


[i] This scene, where Hengist watches his daughter being decked out in her finery, although expanded here,  is Laȝamon’s addition to his sources.

[ii] Aestrild’s story is told in A Presentment of Englishry (Shearsman 2020). Rowena hears it in Chapter one and  it haunts her.

[iii] From ‘It is a custom’ to ‘Germany’ is a loose translation of Laȝamon. Even in Geoffrey of Monmouth’s earlier Latin version the words of the ceremony are given in a form of English. It’s possible the custom is very old and also possible it is the origin of ‘wassailing’.

[iv] Nennius, Geoffrey of Monmouth, Wace, Laȝamon. The implication in all four is that had Rowena been baptised first, there wouldn’t have been a problem. Vortigern makes this point in the previous chapter.

[v] Locrin’s story is told in A Presentment of Englishry, Uther’s in the next part of this project. Both men endanger their kingdoms through their infatuation.

Chapter Five – An age of wood

This is Part Five of LIAM GUILAR’S almost completed epic of Britain. Part One was published in Long Poem Magazine #25 Spring 2021, and Chapters TwoThree and Four in The Brazen Head. For more information about Hengist, Vortigern and the Legendary History, visit www.liamguilar.com

The story so far. Mid Fifth Century; Hengist and his brother Horsa have sailed to Britain where they have been taken on as mercenaries by Vortigern, the newly appointed leader of the Province. Their immediate, shared problem is an army of Picts. In the long term, Hengist’s desire to establish a kingdom must bring him into conflict with the Britons. He is scheming to ensure the conflict will be fought on his terms. Vortigern’s desire to save the Province will bring him into conflict with Hengist, but also with Vortimer, his eldest son and those Britons who resent his even-handed rule, while happily benefitting from it. The story of Thongcaester in this chapter marks the continual shift in the Legendary History between possible history and the world of folk tales.

Snap shot of Hengist

‘Fuck me’, said Horsa,

‘that’s a lot of paint.’

The Pictish horde, a festering

howl of painted bodies, surging

towards the silent lines,

stopping, stepping back,

closer each time,

building the rhythm

of their final charge.


‘We should pray now to Woden, god of all battles?’

‘If you wish’, replies Hengist. ‘I’m betting on our Roman.’


No speeching, no boasting,

no threats of discipline.

Vortigern had explained what needed to be done,

trusting his soldiers would do it.

And wonder of wonder, they trust him.

Hengist admires the choice of ground.

The limited front negates the Pict’s numerical superiority.

The lack of slope, conventionally a disadvantage,

leaves the cavalry who loiter on the flanks

an open field to move across.

The pitch perfect voice steeling the ranks.


In an avalanche of noise, the Picts attack.

‘Hold your lines!’ says the voice.

The Picts shatter like glass hurled against a wall. 

Brothers in Arms

After they destroyed the Picts

and massacred the survivors,

after they hunted raiders in the west,

after the spoils had been divided.


‘You’re staring at your spear,’ said Hengist, ‘is something wrong?’

‘It would look better’, says his brother, ‘with his head on it.‘


Hengist smiles. ‘The Picts and Scotti, they are worthy enemies?’

Horsa thinks about it, nods, ‘Bold fighters, yes, strong warriors.’


‘In every battle that we’ve fought’, says Hengist, tiptoeing,

‘we’ve been outnumbered but we’ve held the field,

yet lost so few in doing so?’ Horsa, still imagining his spear

adorned with Vortigern’s head, nods, admitting this is true.


‘We gave him our word that we will serve.’


‘Was it still our word in their birdy babble?

We told our people we would find a home.

How is this home if we don’t give the orders?’


‘Everyone but god takes orders.

Fifty of the best fighters these islands have seen

are sparrow fart in a thunderstorm

if we inherit his enemies and turn

his former friends into our foes.


Either we finish off his enemies

and slaughter all his friends

so you can decorate your spear.

Or we serve him well,

bait our trap and when he’s caught

the hired hand becomes the master’s equal

and our grandsons give the orders.’

‘So we’re sending for my niece?’

‘Soon’, says Hengist, ‘soon,

I’ll be sending for my daughter.’

Vortigern lectures his eldest son on recent history

‘Four hundred years the legion kept us soft.

They broke the tribes, removed

their expertise with point and edge.

Head hunters once, we worried about status,

cultivated roses, practised Latin,

patronised the makers of Mosaic floors.


The legions kept the peace and fought the Empire’s wars.

They were the turtle’s shell and we the soft

delicious flesh barbarians dreamt

of feasting on. Now the legions have gone over

and left us on our own. The forts are empty,

the watchtowers home to nesting birds.

The weapons we kept hidden, heirlooms,

are a language we’ve forgotten how to speak.

Time washed us up, defenceless and alone,

like a turtle stranded on its back.

Now the predators are moving in.

Until we train an army, we hire muscle.’


‘These men are pagans, father.

What kind of world will you build with their help?

We should exterminate them all

and build God’s kingdom on their bones.’


‘Oh child, your Jesus loves us all?

He cares and is compassionate?

He is a just and loving God?

Did your mother deserve her fate? 

What terrible crime could she commit

to earn such terror and such pain?

Do you believe the Gods are even handed?

Prayer will not drive the raiders back.’


‘You favour them.

I have no land. I have no income.

I have no household of my own.

They point at me and say,

There goes Vortimer nithing.

His father does not trust him.’


‘What is there in what I’ve done

suggests I do not trust you?’


‘You will not let me fight beside you.

You are keeping me from glory.’


‘There is no glory fighting pirates.

I want you to gather Britons

who are willing to fight.

I want you to help Gloucester train them.’


‘Help him? I am your son.’


‘And you have no experience,

no skill, no proven aptitude.

What do you know of training fighting men?

Survival depends on our success.

This is not a time for-self-appointed experts.


Do this and I shall give you land:

and income for your household.’


‘And should I refuse to second Gloucester?’


Vortigern, saying nothing, leaves.

Snap shot of Hengist #2

Gods roll their dice, or fortune cranks her wheel.

You choose your metaphor to regulate the chaos.

Despite the fragile palisade and ditch,

it’s just another village; the usual beehive huts,

wattle fences, pigs, angry dogs. Hardworking adults.

Dirty children looking up to see the sky collapse.


It’s in Vortigern’s path, where and when it needs to be.

Held by some sad fool who calls himself a King,

who thought he could defy the call to Lincoln.

A stash of weapons and some looted goods

are all excuse he needs to make this place a name

to go before the army to infect his enemies with fear

and curdle resolution. The name will mean,

terrifying cruelty; it will translate annihilation.


Warriors slipped off the leash are happy to oblige.

Vortimer sits on the hillside, with two bound captives.

They will carry the news. They will spread the virus.

Horrified, he had protested to his father:

‘You’re letting pagans murder Christians.’


‘Treason is a crime that must be punished,

regardless of the gods they claim to serve.’

Hengist, bloodless, arriving with Keredic.

‘He has a wife and daughter.’ The irrelevance

confusing father and son into baffled silence.


‘He wants to know if the King is married?’

‘My mother is with God and all his saints.

She worshipped Christ.’ ‘Where was He then

when I buried what was left of her?’


‘Raiders? Saxons?’ ‘Britons,

scratching at old tribal sores.

She wasn’t British.’ Hengist bows.

‘He says he’s sorry for your loss.’


Sincere, but qualified,

even in translation.

Thongcaester

Success following success, the age of stone

gives way to wood. See Vortigern the King,

now seated on his wooden throne,

in a wooden hall, smoke filled and dim.

The shadows threaten. The council has dissolved,

he is the one the people look to for solutions

But they remember their grandfathers despised the younger man.

Those who were punished forget how they had sinned.

The sons of those rewarded forget their loyal fathers bled

to earn the lands and titles they inherited.


Vortigern can hear death sharpening her scythe,

scraping in his dreams, the endless ‘help me’.

The whining of the privileged, the weeping of the poor,

silenced as Hengist went down on one knee.


‘Lord’, he said, ‘we have served you well.

We have wives, children, but no home.

We have kept the promises we made.

I ask for land to settle as our own.’


Vortigern, touching the coin he wears,

‘You will dig a ditch and build a palisade.

You will invite your family and your allies

you will forget the promises you made.’


‘We gave our oath that we would serve.

We served, we all bled, many died.

I do not ask for much.’ ’Good dog’,

I’ll give you land,’ Vortimer replied.


The understudy claiming the performance.

He is stepping out to claim the light.

The assembly shoals. Some out of curiosity,

some keen to see the son and father fight.


The King, enthroned, watching,

inscrutable. His silence a surprise.

Gloucester tugging the boy’s sleeve,

whispering, ‘My lord this is unwise.’


‘If it is my land’, this to his father,

‘then I can give it to your dog without your leave.

He only needs enough space for a kennel.

I will give you’, and he pauses,


like a comedian anticipating his applause,

‘as much as you can cover with a flayed bull’s hide.’

Hengist, ignoring insult and insulting laughter,

listening to Keredic, asks: ‘Covered by?


Repeat his promise, but contained in.’

No one notices the switch of verbs.

‘Now make him swear, on all that he holds holy,

that he will give to me as much land


as can be contained within a flayed bull’s hide.’

This nit picking, detracting from his moment,

infuriating Vortimer: ‘I swear by God

and all his saints, by Holy Mother Church,


upon my mother’s grave and on

God’s wounded hands and feet and side

I will give this heathen as much land

as can be contained within a flayed bull’s hide


and freely give him leave, to host as many

as can stand or sit and shit in it.’

Smirking applause from the sycophants,

who may live long enough to learn that Hengist


should not be underestimated.

Or insulted. Nor should Vortigern.

Adolf picking at his cloak

won’t look at anyone.


Hengist, his brother, and their retinue

trailing a growing entourage of British Lords

who thought the joke too good to miss,

wander through Vortimer’s possessions

with a calculated insolence

that worried only Gloucester.


Until they found a hill, wrapped in a river bend,

with steep slopes falling to the water

a fresh spring, clear views, a wood nearby.

While the others camped and drank,

and waited for the punch line to the joke,

the brothers sauntered down the river to the sea.


When they returned they flayed a bull,

to Vortimer’s confusion gave the hide

to the most skilled of all their leather workers,

who sharpened his knives,

and cutting the thinnest of lines,

made a single, long, unbroken thong.


As the onlookers grew silent,

Hengist marked out his new property.

Saxons were soon digging a ditch

building a palisade, hauling timber,


hammering together a fine high hall

for fire and feast and fellowship

and huts, for families, for the ale maker,

a smithy with a forge, wattle fences for the kine.


With a speed the Britons would ascribe to magic,

the Saxons to their own hard work and skill,

the hill was cleared and Hengist’s new home built.

He called it Thongcaester, lest Vortimer forget.


It was not as big as Pevensey or Porchester.

but big enough. Then he sent for his wife

and his sons and his daughter.

Before the wedding

There’s thunder in the east.

Gloucester walks with Vortigern

through the ruins of a villa

and the flicking of the first drops

of a welcome summer shower.

Given jobs that he does well,

Adolf has been generously rewarded,

the benefits of obedience

outweighing the temptation to rebel.


The journey here, past ruined temples,

ruined homes, strung together 

by ruined roads reminding Vortigern of Ovid.


So much changes; so little stays the same.

But he is wary of bad metaphors.

Landscapes are not people. 

Gloucester is a stouter version

of the up and coming man

most likely to succeed.


Translating his personal ambitions

to devotion to the public cause;

the restoration of the Council,

the unification of the Province.

But hard to tell if he has changed

or if his new clothes are just old clothes

dyed and cut a different way.


‘The Boys?’[i]

‘Are not a problem, yet.’

‘They blame you for their brother’s death.’

‘His retinue got drunk and slaughtered everyone.’

‘A retinue of Picts that you had trained.

‘He sent me away.

When he realised

I‘d stand beside the Council.

When he couldn’t pay,

they killed him.’

‘They claim it was a ruse

to make the Picts afraid,

to force them to rebel.

Because you wanted to be King.’

‘And then I killed them all?

I cleaned up the mess, remember?’

‘To cover up your crime.’

‘That’s not what happened.

What other news?’

‘Hengist’s wife and daughter have arrived.’

A silent Vortigern admires the broken wall

where a rose bush has grown wild.

‘He’s going to pitch her at you.

At this great feast in his new hall.’

What would the owner of this rose

think of the incomers

who built their cooking fires

upon his mosaic floor?

‘We pay him for his service: he’s our servant.

I marry his daughter: he becomes our ally.

My father in law. Our equal.’

‘If you turn her down, he’ll revolt.

The word is fifty keels have landed.’

‘Seventeen. I had them counted.’

‘Seventeen or fifty. Fifty Picts did Constantine.’

The tide rolls in.

There is no dam, dyke, ditch

will keep it back.

What’s seventeen keels,

each day twice as many land

scattering incomers along the coasts

families moving inland

some intent on mayhem

others looking to settle.

If we do not find a way

to make them part of us

they will make us irrelevant.


Take the title, become the title.

The obligations of the office

before personal desire?

‘He will expect a Morning Gift.’

‘Then give him Thanet. It’s already his.

It’s not like she’s deformed,

or old. They say she’s stunning.

You get to break her in.

Teach her a trick or two.’

Golden hair incongruous

against the bishop’s bony knees.

‘I’m marrying a woman or a horse?’

His awkward attempts at blokiness rebuffed

Gloucester withdraws, hurt and baffled,

like a puppy that’s been kicked.


Vortigern watched as summer rain

streamed off the roof. Someone

loved this garden. I had a wife.

The daughter of a Roman General

who had no time for flowers.

She liked things, pretty things.

She married me to guarantee

the hard bright pretty things

and we could have grown old

in comfortable indifference.


Take the title, be the title.

Do what needs be done.

‘And the Church, and the British Lords?

When they hear their King is fornicating

with a heathen, when they see the pagan,

Hengist treated as their equal?’

‘What they think won’t matter when we’re safe.’

‘Outrage is a pastime for the lazy.

A wedding will be one more faggot

for the funeral pyre.

She converts before we marry.’

‘The Bishops won’t baptise a Saxon.’

‘How long would it take

to dunk her in a river

and mutter the usual spells?’

‘Marry the girl. Hengist won’t revolt.

When The Boys return, we’ll have an army.’

How beautiful a garden after rain.

The intensity of colour, the clarity of scent.

Gloucester’s red cloak shrinks into the dusk.

An army I can trust? Unlike the one you’re training?

The word is Gloucester, you’re talking to The Boys.

If you make me choose,

I’d rather stand by Hengist than against him.


Vortigern returns to the rose bush.

Sweet smell of sadness and regret

after the rain, with the light fading.


[i] The sons of Constantine the King, who fled to Britany after their father and eldest brother were assassinated.

Chapter 4 – Vortigern and Hengist

This is Part 4 of LIAM GUILAR’s almost completed epic of Britain. Chapter One was published in Long Poem Magazine #25 Spring 2021, and Chapters Two and Three in The Brazen Head

The story so far: 449 AD in the Roman province of Britannia. The Legions have long gone and raiders and civil war are becoming endemic as central authority breaks down. The Vicarius, de facto ruler of the province, is dying and about to appoint his successor. There are only two candidates. Adolf of Gloucester has been sent North (See chapter three); Vortigern has been sent south to hire three shiploads of Germanic warriors who have arrived off the coast.

You can read more about Vortigern, Hengist and The Legendary History1 at www.liamguilar.com.

1. Old Friends?

What Vortigern wrote in his report

There are three ships,

60 fighting men,

all experienced.

They have a British Latimer  ((In Laȝamon’s time a latimer was a translator, the term is anachronistic here))

called Keredic.

I have made the standard deal.

What happened

From London, along Watling Street towards Canterbury

in easy stages for his infantry. Crossing the Medway,

he had left his officers billeting the troops

ridden the short distance to this estate

for the comfort of time

spent with someone he could almost trust.

Aurelianus was old-school.

An imperial patrician of

impressive pedigree.

Perhaps more honest than the rest,

but generations of his family

had enforced the rules

they were happy to ignore

then wondered why no one

respected their authority.

They had dissolved the distinction

between ‘legitimate behaviour’

and ‘corrupt self-interest’.

If he were appointed Vicarius,

that line was his to draw

and to enforce. But for now, imagine,

two old friends in an autumn evening

as the light softens and the air begins to bite.

In a tidy garden by the water feature,

sipping imported wine and reminiscing.

The abrupt shifts, unfinished statements,

allusions no one else would understand.

Aurelianus could talk the hind legs off a donkey

but retirement has made him garrulous.

‘I heard you freed the slaves on your estate.’

Vortigern waits for the verdict.

Aurelianus sips his wine

settles in his chair, brushing at the midges.

He was a very junior officer on this man’s staff.

First post, a favor owed to somebody,

a debt paid in another lifetime.

The neat patterns of tidy fields

fall to a distant line of trees,

sprinklings of huts, lazy,

innocent smoke from cooking fires.

Voices rising towards them.

Some of the huts are rectangular.

‘They’re calling you their new Stilicho.

Hardly a compliment.

Why are you heading south?

Adolf’s Comes Litotes2 etc. etc.’

‘Did you ever fathom the Vicarius?’

‘No one has. I knew hard men

who stood their ground, outnumbered,

facing Attacotti …

                          …You’d think he was a bad dream

and then meet someone who was there and know that he was real.

No one’s threatened him since Locrin was in nappies.’

‘Constantine?’

‘A minor irritation. Swatted,

with your co-operation,

if rumors are to be believed. 

‘I didn’t kill him.’

‘The difference between you and Gloucester?

He wants the title; you want the job.’

‘Gloucester’s good.‘

Aurelianus pours more wine and waits.

‘I’ll say it if you won’t. He’s competent.

He’d make a fine quartermaster.

But well-meaning, hard-working, ordinary’s not enough.

Men who thought that power and influence

were theirs by right of birth or wealth,

who went to the right schools and joined the right clubs,

could rule the province when it ran itself

and competence was irrelevant. But now

they’re learning how inadequate they are

and talent, skill and application, regardless

of the family’s history, are what’s required.

Extra ordinary times highlight just

how ordinary our leaders are.

There was a time a clumsy oaf like Constantine

could rule the creaking province

and you and I, young Gorlois, Adolf, the Vicarius,

we’d sweat and bleed to make it work.

I saw a bridge collapsing once.

Dust first, then random bricks,

then a pillar, then the whole thing went.

The bricks are loose. It’s only time

before it all comes tumbling down.

The Vicarius will name you his successor.

The question is, will you accept?’

Only fools pick fights that they can’t win?’

‘Someone has to hold the pass.’

You have Germans on your estate?’

‘Hard working men.

I hear you’ve learnt their language.’

‘Slaves?’

‘No. I followed your example.

I give them land for service.

So many days a year to work my fields,

a pig from the litter, honey from the hive.’

‘And if the land you offer them

happens to be on the wrong side of that tree line?’

‘My estates spread. If my neighbors object…’

‘Your Saxons fight well.

No magistrate to hear complaints?’

‘Magistrates, yes. Magistrates with clout, no.’

There is no longer Greek nor Jew, slave or free?’3

‘All that bollix about Britain for the Britons.

Any man who rolls the dice, leaves his home,

and braves the crossing, recommends himself.

As for the women, they’re a race apart.

If I were younger, I’d have me a Saxon wife.

The sons we’d breed. How are your boys?’

            ‘Vigilant, on the coast, with troops,

watching the new arrivals.’

‘That wasn’t what I meant.’

‘They’re bringing them to Canterbury.’

‘You’ll stay the night? No? Of course not. 

You’ll be there when the first man stumbles out to piss.

Which is as it should be.’

Torchlight, patient horses, patient grooms.

‘I’ll lend you a guide if you’ll send him home.

What’s left of the army will follow you

unless you put it on a ship to France.

You are the best man for the job.

There’s a rumor in the fields.

South of here they’ve called the county out.

An armed mob moves on Thanet.

You’ll meet them on the road.

You cannot reason with a man

who thinks ten thousand Saxons landed.

Ask him how many ships that would require

show him three keels pulled up on the sand

he’ll still call you a liar and claim

you hid the rest by sleight of hand.

Don’t bet on their obedience. 

Deference has been replaced with calculation.

We’ve lived to see the end of institutional authority.’

2. The job not the title

Said the man expanding his estates.

And if that were the last time that they met?

He thought of things he didn’t say,

wondering if they needed to be said.

Some debts lack their vocabulary.

And if that were the last time that they met?

Or if they met again as enemies?

Take the title, become the title.

The obligations of the office

before friendship or desire?

Overhearing the soldiers in the column

as they crunched their way south-east

in perfected order of march.

Yes Ma’am, he tells her memory4

I did take notes. I studied hard,

and learnt from men who knew their trade.

His officers about their business,

until the scouts returned and put an end to banter.

A mob in the road.

Britons, with farm implements,

rusty swords and hunting spears.

No match for a German warband.

A pot-bellied old man shouting at him in a reedy bellow:

‘A thousand Saxons pillage Thanet.

The county’s out and armed

we go to slaughter pagans.

Ride with us!’

‘There are three ships: sixty men.

They have come in peace.’

Spears and pitch forks twitching,

like reeds in the wind

as they ebbed towards the riders

then recoiled from the levelled spears.

The wide boys at the back began to chant

the usual obscenities and physical impossibilities.

Your father was a traitor too!

He never met his father!

His mother outdid Messalina.

She never knew which bean made her fart.

The mob seethes,

growing coherent in its shoaling.

stones starting to rattle and ping

as the men behind him tightened their ranks.

A spear wobbled towards him from the back.

Softly, for the form of it,

knowing nobody could hear.

‘This is your last warning:

obey the law, go home.’

The mob surged forward.

He shouted the necessary words.

 

3. Foederati

Bugger meeting on a beach and pandering to pagans.

Vortigern and his staff arranged the reception as a set of signs: 

nothing ornate, redundant, nothing ramshackle or improvised.

Everything tidy, trim, bright, like a well-honed killing edge.

Turned out in battle order. We are fighting men,

we strike a deal; wealthy enough to pay,

strong enough to crush you without effort.

Vortimer, his eldest son,

riding beside the walking Saxons.

They stack their spears.

He notes their care,

the bright, honed points,

their polished shields,

abundant swords.

The knives that name them

are to be left outside.

And God,

these were not the shabby discards time had spat up on a beach.

These were fighting men who didn’t need to strut.

With an army of these men he can hold the Northern Border

and use The Wall for landfill.

‘Who are you?

You are not the usual dregs

washed up on these shores.

Unless my eyes deceive me,

these are front-fighters

battle scarred and tested. These men

have stood their ground.’

Keredic translates.

‘I am Hengist, son of Wictgils,

son of Witta, son of Wecta, son of Woden.

This is my brother Horsa son of Wictgils,

son of Witta, son of Wecta, son of Woden.’

Vortimer, interrupting:

‘Who does he worship?

We are Christians here.’

‘I don’t care who he worships

if his god has a special hell

for men who break their oaths.

Where are you from?’

‘We have no home. We seek a lord

who will reward our service.’

‘Without a lord or land

a man is nothing to your people.

If you are exiles, speak now

and do not hide your crimes.’

The translator hesitates.

‘Exactly what I said,

and nothing more.’

Like little knife cuts.

This Hengist does not flinch.

‘Fierce, unrelenting tribal warfare

interrupted by long, bitter winters.

The sea rises, pushing us towards the Franks.

The Franks push us towards the rising sea.

So we drew lots and those who lost stayed home.

You will be our Lord.

We will astonish you.

And we will see our families again.

I have my name and sword.

I will keep both bright

and earn your gratitude.’

As if that were sufficient.

Later Vortigern thinks

one culture’s arrogance

is another’s confidence. 

He’s met this type before:

one more tribesman on the make

one more thug who kills,

and lets the paymaster decide who dies.

Who wants whatever the Empire has to offer.

But this man, this Hengist, is impressive.

There’s something godlike in his certainty.

If his self-confidence is tinged with madness

it’s the kind that founds dynasties and crumples empires.

 

4. Vortigern the King

The past begets us,

then grows old as any parent must.

Comes a time it cannot offer shelter.

Cannot satisfy our restless need

for whatever tomorrow calls to us.

It becomes the parent standing at the door

watching us set out on our own.

A private audience.

The map is still rolled out across the table.

Mad as a cut snake

and twice as vicious,

the Vicarius is folded into a high backed chair;

a skull balanced on a bundle of fine cloth.

Word is, he’s got less than weeks to live.

‘You took the oath to serve:

For the ashes of my fathers,

and the temples of their gods.

You gave your word,

under the watchful gaze of your ancestors

as custodian of their tarnished honour.

You stand by it?’

The Vicarius almost smiles.

Perhaps he winces,

old age raging his joints,

and twisting his mouth.

‘Of course you do.’

The old man starts to cough,

doubles and shakes,

a man beaten by time.

((See Chapter Three, ‘Adolf of Gloucester goes to the Wall’, The Brazen Headhttps://brazen-head.org/2021/06/09/adolf-of-gloucester-goes-to-the-wall/))

‘He’d have wasted his time 

playing with the Empire’s carcass

rebuilding towns we can’t live in

maintaining roads that lead

nowhere we need to go.

What will you do?’

Poisoned as any half-expected chalice.

But there’s no time to say,

take this cup away from me.

‘The Saxons and Picts don’t worry me.

They’re a military problem.

The legions were victorious while they held their line.

Now that line is broken,

so many little princelings who’d rather claim a dung heap

than work their corner of a mighty empire.

Who don’t care if their kingdom falls tomorrow

as long they‘ve been ruler for a day.’

‘Talking won’t save you.

You can lay out all the reasons

for co-operation. Explain

why they always win if they’re united.

And still they will refuse.

Splintered, word will spread,

is spreading even now.

This is no longer Ynys y Kedeirn5

The land is good, the Britons weak. Soon

three hundred ships, not three will land.’

‘Even now the Picts are gathering.’

‘Gloucester didn’t mention this.’

His voice has the dirty edge of a blade

the executioner doesn’t clean.

‘He saw empty villages

met with no resistance,

assumed they were afraid of him.

The women and children

head to the heather

while the men are gone.

They know what we know.

Once they cross The Wall

there’s nothing to oppose them.

The princelings have to choose:

join in or be destroyed.

This is their moment.

If they succeed,

they’ll swarm over the midlands.

Death and misery on a scale

no Briton’s seen since Boudicca trashed London.‘

But Vortigern isn’t looking at the map.

The wind behind him mutes the stench

of so many unwashed bodies

but doesn’t dim the shaking

cacophony of their howling voices

as they race towards his waiting ranks.

Discipline beats numbers every time.

His voice, calm, saying, ‘Hold your lines.

Hold your lines and you can’t lose.’

The Saxons proud of his centre to break the first assault.

Afterwards, his horsemen in pursuit.

The horrors of a routed army,

hunted down ‘til the beasts of battle,

so glutted on their favourite food,

lie down and refuse to move.

Then the work of devastation

until there comes a day when no dog barks

between the stone wall and the turf.

‘We have a month before they move.

an inauspicious moon demands

their priests’ attention.

We’ve summoned the leaders of the North.

The messengers will bring them,

or their replies, to Lincoln.

I’ll meet Adolf and his soldiers there.’

‘Those who don’t respond?’

‘Once the Picts are defeated

these tyrants are no match for us.

Not one can field an army worth the name.

Most of them have twenty, fifty men at most.’

‘After you defeat the Picts,

take this Hengist and his men,

find the kinglet furthest north

who refused your call,

slaughter his people,

devastate his ‘kingdom’.

Become a terror to your enemies

and your friends’.

They make a wasteland and call it peace?

((Vortigern is quoting Tacitus ‘quoting’ Calgacus, an enemy of Rome))

‘Fear, the rack and a well-stocked gallows

guarantee obedience.‘

‘A frightened man is never loyal.

If he thinks you’re weak, or threatened,

he’ll run or rip your heart out.

The mess we’re in proves that.’

‘Unreason frightens you. It always has.

A man who’s wrong and disregards the facts,

short sighted, blinded by self-interest,

acts knowing that his actions are disastrous.

You might as well talk philosophy to your horse.

Don’t be misled by eloquent historians

who make the past seem rational.

Don’t think that your intelligence

will solve the problems you encounter.

You have to deal with people as they are.’

Better a dead friend than a live enemy?’

‘Yes. [Cough] Emphatically, yes.

Always.’

‘There has to be a better way.

When Gwendoline ruled this island,

a woman, with a baby at her breast,

or a man, with the red gold in his bag,

could walk the length of Britain unmolested6

 ‘…That old fairy tale.

Kill Gloucester before he murders you.

Then purge the council and the senate.

Survive or perish. That’s your only choice.

If you decide to rule, power has its logic.

You can no more change this system

than you can push the cart you’re sitting in.’

5. What may mon do but fonde7

In the early morning light,

on the inland wall,

now looking north,

London at his back.

His position ratified

by a wary council.

The old man’s pyre

still smouldering.

Could he have had the clarity

to understand his world was gone?

The ideology that held the empire; gone.

Comfort and sophistication; gone

and none of it was coming back.

For the next five centuries,

tiny kingdoms and their tyrant kings,

scrapping each other with armies

that would have made a Caesar laugh:

‘Surely they’re not serious?’

His map torn up to make a jigsaw,

the tiny pieces ‘kingdoms’

with their ragged edges 

lines of rivers, ridges, roads.

Glued together, then re-torn

as violent men compete,

for the right to strut a short day

as King of the Breadcrumbs.

In their draughty barns,

with their mead and alliteration

their imperial fantasies

their beautiful books and demented priesthood

whose love of learning and their God,

will give them strength to lecture

killers about a God of Peace.

He watches his soldiers prepare to march,

and Hengist’s men accumulate untidily.

The road leads straight to Lincoln

to the mustering of his army. 

There will be more than he expected

and less than he wanted.

But they will come to his name

not to some ornate Latin title

that would once have activated

a well-drilled, dutiful response.

What’s left is personalities,

rivalries, irrational animosity.

In place of public servants,

working for the public good

self-serving functionaries

asking ‘what’s in it for me?’

With greed its own event horizon,

and a life defined by its fulfilment

or frustration. Loyalty and obedience,

replaced with automatic calculation:

weighing effort against cost.

The empire was expert in legalised brutality;

whips regulation length, tortures itemised.

Four hundred years and not one independence movement?

After it stacked the corpses of its enemies

possessed their lands, erased their way of life

it offered their descendants the benefits of Empire.

From Persia to The Wall the grandchildren

of those it killed queued up to out-Rome Rome.

Beyond greed and fear, there are better reasons for obedience.

Britannia stood or fell on their discovery.

In retrospect, and there’s 1500 years of it,

it’s obvious he must lose

but he stands on the inland wall,

that faded coin in his hand8

planning to save his province.

  1. ‘The Legendary History’ is shorthand for the history of Britain that was being told in the 12th century. These chapters began life as an attempt to understand the version told in Laȝamon’s Brut. The Legendary History cannot be reconciled with modern understandings of the history of this period. Improbabilities, anachronisms and contradictions abound. I have not tried to tidy them up []
  2. Count of the Saxon Shore. The Saxon Shore would include the area Vortigern is heading towards, while Gloucester has been sent North []
  3. Vortigern is misquoting St Pauls’ letter to the Galatians []
  4. See Chapter Two, ‘A Man of heart?”, The Brazen Head – ((https://brazen-head.org/2021/02/28/britannia-in-peril-an-extract-from-an-epic-of-britain/ []
  5. ‘The Island of the Mighty’ []
  6. Gwendoline’s story is told in A Presentment of Englishry, Shearsman, 2018 []
  7. What can a man do but try? From Gawain and the Green Knight. Gawain too sets out on an impossible quest and holds himself to an impossible standard []
  8. An imperial coin worn smooth which he found in Chapter Two []

Battles royal

The statue of King Alfred at Winchester Image: Shutterstock

Eþandun Epic Poem

William. G. Carpenter, Beaver’s Pond Press, 2021, 252pp

LIAM GUILAR finds much to admire in an ambitious new epic of Alfred, but fears it misses the mark

Eþandun1 is a narrative poem which tells the story of King Alfred’s actions between the Danish raid on Chippenham in midwinter 878 AD and his victory at the battle of Edington about six months later. It advertises itself on its cover as ‘Epic Poem’2.

The orthodox version of literary history is that since the 19th century there has been a ‘lyricization’ of poetry in English. At the beginning of that century poetry was still the main vehicle for narrative, but it was gradually supplanted by the prose novel, until fictional narrative in prose became so common that ‘prose novel’ sounds tautological and ‘lyric’ became the default mode for poetry.

Edgar Allan Poe wrote

I hold that a long poem does not exist. I maintain that the phrase, “a long poem,” is simply a flat contradiction in terms.

People who may not have read his argument and might have gagged on some of his examples of ‘true poetry’ accepted his claims.3 At the beginning of the twentieth century the most influential poets wrote long poems but avoided narrative. Despite the continuing popularity of narrative fiction in print and digital media, critics of the stature of Hugh Kenner and Marjorie Perloff were happy to announce that plot is obsolete (Kenner)4 and narrative is undesirable (Perloff).5 Post modernists, stuck up their theorised cul de sacs, invented ‘weak narrativity’ which stripped of its verbiage seems to mean telling a story by deliberately not telling a story.6 The idea that poetry is just another form of entertainment became a heresy.

There’s an element of truth in this potted narrative; it couldn’t be a critical orthodoxy if there weren’t, but poets have gone on writing book length narrative poems in blank verse, strict stanza forms, free verse, or sequences of diverse poems, and in doing so they have moved across most of the existing fictional genres.

One consequence of this historical development is that modern publishers often seem clueless when it comes to promoting a book-length, narrative poem. Eþandun is a good example. It’s an historical novel. The writer has done his research. He knows the period and he has invented a story full of incident and drama that fits within a fixed, historically accurate time frame. We might dispute the credibility of the story, but that’s part of the pleasure of reading historical fiction.

It seems highly unlikely that Alfred hid in Guthrum’s camp disguised as a Welsh bard,7 even less likely that he became his unofficial adviser, staged a fake séance and debated religion with him. Carpenter’s battle at Edington is a miraculous victory for a vastly outnumbered English army. It was not regarded as miraculous by contemporaries. Anglo-Saxon armies had been trashing Danish armies for decades; the men of Devon destroyed one that same winter and the Anglo-Saxon Chronicle, our major source for the battle, simply records both the raid on Chippenham and the victory at Edington. The personal combat between Alfred and Guthrum seems a definite mistake, historically implausible and anti-climactic, even if the end of Virgil’s epic is ghosting in the background.

But a reader could dispute those parts of the story while enjoying them, with the added pleasure of encountering incidents he or she wouldn’t have imagined. This is fiction, not history and fiction requires incident and drama. Carpenter’s story is full of both.

What percentage of the vast audience for Game of Thrones, Vikings, The Last Kingdom, Lord of the Rings etc. care about the quality of the prose they’re reading? Would they be put off if the lines didn’t go all the way to the right-hand margin? They could enjoy Eþandun and learn about the history of the period while they were doing it without worrying about the quality of the verse. There’s a vast audience out there, but the publisher sticks ‘Epic Poem’ on the cover and that means the book will be shunted into the poetry section, if there is one, where its natural readership will not find it. Put ‘Epic Poem’ on the cover and the book is reviewed by poetry editors instead of fiction reviewers.

The dust jacket reflects the publisher’s confusion. What does it tell a prospective reader about the book?

The title, Ethandun, spelt Eþandun seems needlessly pedantic. It’s not a famous battle like Hastings. Since most potential readers haven’t heard of it, aren’t going to know the sound value of the thorn (þ) and are going to be confused by the similarity between the a and d in the chosen font, it also seems needlessly uninformative.

If you don’t know what an Eþandun is, the cover picture doesn’t help. It shows a generic ‘couple in the past’. If this is supposed to be Alfred and his wife, the latter is missing for most of the book, and when they do reunite, in the last chapter, Alfred’s loss of an eye has been stressed so often that the fact that he has two in the picture seems incongruous.  

Still seeking enlightenment, one reads the quotes on the back of the dust jacket. Typically, for a narrative poem, there is a failure to give an overview of the story. The only information states:

It is 878 AD. In the struggle between Christian Saxon and pagan Dane, whose endurance, loyalty, and strategy-whose God or gods-will prevail?

878 is not a well-known date. If you, reading this, know its significance, you belong to a very, very small group. If on the other hand you know the date, then you know Alfred won. Suggesting there’s any doubt seems counter-productive. Hidden away on the front flap of the dust jacket is a succinct summary of the book. It ends, however, with a piece of strange and highly inaccurate hyperbole: “Eþandun paints Western Christendom in its darkest hour”.

As so often, the choice of approving quotations is also strange. There are two:

Eþandun is a work of genius, of true poetry, and also a staggering piece of historical scholarship. It is utterly original in concept and execution

This tells a potential reader nothing about the poem. As a statement it relies on the reader’s unwillingness to stop and consider it. It’s hard enough to define ‘poetry’ but what is ‘true poetry’? Certainly not the same ‘true poetry’ Poe was promoting. The phrase turns up on a baffling variety of poetry books and should be banned, unless the user is willing to explain exactly what it is supposed to mean. Nor is this a “staggering piece of historical scholarship”. I can’t imagine many historians being staggered by a three-page bibliography.

The second quote is even stranger:

Carpenter’s Alfred is a wannabe medievalist’s delight. We don’t know much about the king who united Britain, but through Carpenter’s eyes, we imagine him.

If this is “a wannabe medievalist’s delight” should the genuine variety steer clear?

“We don’t know much about the King who united Britain.” This is very true. Surprisingly little is known about Athelstan who did ‘unite’ Britain, but he was Alfred’s grandson and this book is not about him, but about Alfred, who didn’t even unite England. We also know more about Alfred than about any other Anglo-Saxon king.

Carpenter knows most of what is known. One of the most striking aspects of this book is that Carpenter achieves that very rare thing: a story set in the ninth century, where the characters’ frame of reference is ninth century. It’s very impressive. It has nothing to do with ‘wannabe medievalists’. But the book’s main strength is also its major weakness. The research hasn’t been integrated into the fabric of the poem. It sits on top of it, calling attention to itself.

On the run from the Danes, Alfred and his retainers are watching them ransack a religious institution, spitting babies on spears and molesting the religious. Alfred’s companion, Octa, wants to leap to the defence of the weak and persecuted.

Can I behold such wickedness’ he murmured

as Athelred’s successor gripped his wrist.

‘You can behold’ said Alfred, ‘and you will’8

Alfred’s response is terse and dramatic and suits the situation. It’s also believable. But then Alfred, who is also Athelred’s successor, launches into a 41-line speech, referring Octa to a list of historical situations that may have been much worse than the one they are in. This is not an isolated example. It’s a major stylistic characteristic of the text. Carpenter’s Alfred, like his narrator, has the irritating habit of launching into an historical disquisition at every possible opportunity. The story stops. Alfred speaks. At length. He sounds like a boring pedant. His retainers could have been forgiven for shanking him just so they could eat their meals in peace.

Before the climactic battle, Alfred makes a speech to his gathered troops. In Carpenter’s version of events, this is a desperate moment. He only has 318 fighting men. The model for such speeches in English poetry is Shakespeare’s Henry V. As a piece of ruthless, self-serving rhetorical manipulation Henry’s speech before Agincourt is perfect. But not one of Henry’s imaginary bowmen would have failed to understand everything he said.9

Carpenter’s Alfred says all he needs to say in 16 lines and then launches into a history lesson, piling up the examples which include King Ahab’s levies, Matathias’ son, Oswy, Abraham, the council at Nicea, a piece of erudite Greek symbolism courtesy of the Venerable Bede, and some typological exegesis surrounding Melchizedek, with the Spartan Leonidas thrown in at the end for good measure. We don’t know much about the men who made up the Wessex levies at Edington, but they would have been baffled rather than inspired.

The ghost of G.K. Chesterton’s The Ballad of the White Horse haunts any poet who attempts the story of King Alfred. Chesterton didn’t claim his story was historically accurate, and he used various ballad-like forms to give his poem an incantatory, dream-like quality. Carpenter opts for blank verse and his handling of this is deft, providing him with an unobtrusive, sometimes elegant vehicle for his narrative. Unfortunately, he breaks this with heavily alliterating lines that sound like fake medieval verse. Perhaps this delights ‘wannabe medievalists’ who have never encountered the real version. It’s difficult to imagine any Anglo-Saxon composing the clumsy equivalent of “Begged to buy his butchered boardmate’s blood.” (p. 46)

Old and Middle English alliterative verse was a flexible and sophisticated way of organising a line and offered subtle possibilities in rhythm and emphasis.10 It’s very difficult to do in modern English for a variety of reasons. Carpenter has wisely decided not to use it. He opts instead for general alliteration, using it heavily at certain parts of the narrative. Imposed on blank verse this can be disastrous. The drummer is tapping ten or eleven beats and lightly stressing every second one, then suddenly the bass player has decided to stress any random combination of beats. The lines begin to sound ominously like tongue twisters.

Both bled, both blew, hearts hammered in both breasts

As cupbearers brought them bread and beer11

When the alliteration is linked to Carpenter’s habitual circumlocution12 and used to describe combat, the result is confused:

…and Wulf went in forthwith. Poor Wulf was fined

a foot, but soon the Somersetan swung

south of Sigewulf’s stroke, which, Sherbourne’s shield,

discerning, drove his troll wife down the troll road

cleared by the killer’s ward as careful Alfred

aimed his edge and nicked the bristled neck. Wulf

lobbed his limb at the snout, Sigewulf struck

brawn, and the bitch chomped the carl’s calf (p. 13)

It’s true that heroic poems from Y Gododdin to ‘The Battle of Maldon’ detail the deaths and deeds of individuals in combat. But the original audiences probably knew the participants, or had heard of them, and were familiar enough with combat to be fascinated by the blow by blow accounts. The descriptions are rarely, if ever, confusing. In the 21st century those conditions don’t apply. “Poor Wulf was fined a foot” sounds needlessly precious and unnecessarily vague: “lobbed his limb at the snout” bordering on parodic. I do not know what “discerning drove his troll wife down the troll road” means.  

Is Eþandun Epic Poem an epic poem? The answer depends on your definition of epic and defining epic is an entertaining critical game, if you enjoy such things. The arguments have produced a small library, like the larger one attempting to define lyric. The standard critical manoeuvre is to survey contending definitions of epic from Aristotle onwards, and then pick whichever one allows the critic or writer to do whatever they were always going to do. Like the attempts to define lyric, the game has little pragmatic value.

Eþandun is certainly a long poem that wants to be taken seriously but it raises the more interesting question of whether or not it is possible, in the 21st century, to write, “A war epic in the tradition of Homer and Virgil”, which is the claim on the inside of the dust jacket.

David Jones was probably the last person to achieve this, with In Parenthesis. He was describing a war his readers had fought in. Christopher’s Logue’s War Music is the positive answer to the ‘war poetry’ part of that question. But Logue wasn’t trying to out-Homer Homer. Then is not now, and he built this into his poem, using all the techniques available to a modern English poet.

Virgil’s audience were trained in the use of weapons, and accepted combat as a natural part of their lives. Martial skill was admirable. No one living today has fought in a Dark Age battle. That might be the crucial difference between a Roman aristocrat who has fought in the Empire’s wars listening to the final combat in the Aeneid, and a modern audience reading that passage or Carpenter’s imaginary combats.

For the original audiences of Homer and Virgil, the past was a very different place: gods interacted with humans while larger than life heroes stalked about the earth. In the 21st century we split history, which is (hopefully) evidence-based and factual, from a thing called fiction which is a culturally sanctioned form of lying. The split is very recent, certainly post-medieval. Today we dispute the ‘historicity’ of the Trojan war. If it happened, then it didn’t happen the way it does in the Iliad. We look for evidence it might have happened, framing its possible causes in terms of economics and expansionist politics.

Virgil and Homer were creating poems that sprung from a shared belief in the truth of their stories, built on a shared knowledge of the past. It’s almost impossible for a modern reader not to read the Aeneid as a form of historical fiction – a high-class Roman Marvel Comic with suited superheroes and bickering gods. The suspension of disbelief we’ve learnt from reading and watching fiction automatically takes over. For the original audience this was the foundation story of Rome.

A poem written in the tradition of Virgil would have to negotiate the fact that most people no longer believe gods walk on the earth.; or that victory in battle proves that God prefers your cause to your defeated enemy’s; or that sword swinging killers are sufficient role models for the problems of the world adults live in. Heroes of the superhuman stature of Aeneas or Achilles belong now in the world of fiction and are diminished by this. There was a King Alfred, and he was bound by all the contingent forces of his place and time and essential humanity. He was extra-ordinary. But if we admire Alfred as an historical figure, it’s not because he won a battle, but because of his reforms after Edington. They are hardly material for a dramatic war poem in the style of Virgil.

Carpenter’s Alfred is not the historical man. Nor is he a believable representation of that historical man. However, fiction has requirements history will not provide. Eþandun is historical fiction: entertaining and thought provoking even when it is at its most implausible. Virgil was not writing fiction.

  1. The title, with a modernised spelling would be Ethandun. The place of the battle is usually given as Edington []
  2. ‘Eþandun Epic poem’ on both dust jacket, copyright and title page. Eþandun on the book’s spine and cover []
  3. Poe, E.A. (1846) briefly in ‘The Philosophy of Composition’. http://www.eapoe.org/works/essays/philcomp.htm and in more detail in (1850) ‘The Poetic Principle’. http://www.eapoe.org/works/essays/poetprnd.htm. Poe’s attempt to define ‘True Poetry’ comes in the penultimate paragraph of this latter essay []
  4. Kenner, H. (1951) The poetry of Ezra Pound, p. 262 []
  5. Perloff, M. (1985) The dance of the intellect: studies in the poetry of the Pound tradition, p.161 []
  6. See for example Brian McHale’s (2004) The obligation toward the difficult whole. and the same writer’s contribution to the Routledge Encyclopedia of Narrative Theory.in the entry for ‘Narrative in Poetry []
  7. Like the story of the burnt cakes, the story of Alfred visiting the Danish camp as a harper first appears in the 12th century []
  8. p.51 []
  9. In Old English, Byrhtnoth’s speeches to the Viking messenger in ‘The Battle of Maldon’ is a less well known, but historically more appropriate, example of direct, effective, dramatic speech []
  10. Essentially a line with four stresses. Three of the beats are stitched together with alliteration. The last beat rarely carries alliteration []
  11. P.210 []
  12. I counted ten ways in which Alfred is named in the poem before I stopped counting []

Adolf of Gloucester goes to the Wall

This is Part 3 of LIAM GUILAR’s still-being-written epic of Britain. Chapter 1 was published in Long Poem Magazine #25 Spring 2021, and you can read Chapter 2 in the previous issue of The Brazen Head.

The story so far: 449 AD. The Roman province of Britannia is tottering. The Legions have long gone and raiders and civil war are becoming endemic as central authority breaks down. The Ruling Council has sent Adolf of Gloucester1 on a mission to establish contact with the new war lords in the North and call them to a meeting. After that he is to continue further north to investigate the rumor of a lost legion. The Council intend to use such an army to protect the province. Adolf has other plans. Adolf’s main rival is called Vortigern. You can find out more about Vortigern and the Legendary History at www.liamguilar.com

Chapter Three: Playing Dress up in the Ruins.

Gloucester goes north

Ghosts on the great north road

moth-eaten capes, tarnished brass:

pretend Romans on a fading track

its edges blurred, the landscape

creeping back, erasing the affront.

The old Cursus Publicus.

No one waited with a change of horses

to speed them on their errand.

No patient slaves were waiting

to lead them to a bath house.


Stunned groups struggling south,

unable to say where they were going.

Some with belongings. Some

begging for food, or running

at the first sight of armed men.

The worst were those too tired to run

who simply stood or sat and waited.


All day darkness, and the sky fouled with smoke,

as though the north itself were burning.

They were grateful for the rain.


An abandoned temple gave them shelter.

Gloucester imagines ordered lines

stepping towards the incoherent mob.

Discipline against barbarian chaos

the grateful blood stained victors

chanting their general’s name.

A legion at his back? Why not?

It worked for Constantine.


His men are camped outside.

More scared of ghosts than rain.

But in this world of broken shadows

even the ghosts are now afraid.


You’ve met these two before:

History’s statistics.

They are there to prove how great the victory

how terrible the defeat. Until recently

nobody bothered with their stories.

They’ve been around since wars began.

They’ll grumble on until there are no wars.


Two faces in the firelight, sharing food.

Veterans of the service, though the service

in their eyes, is looking very shabby.


‘All punishment and no discipline.

Innocent or guilty, capable or clumsy

makes little difference to this Adolf.’ 


‘When that rider came…’

…’The gibberer?’ ‘Him.’

‘What did he say?

A raiding party running for The Wall?’


‘Burdened with loot and captives.’

‘Wagons loaded down with loot he said.’

‘Pushing wagons loaded down with loot.

But Gloucester says They’re heading east.

Our orders take us west.’ ‘That’s true though isn’t it?’

‘Yes, indeed it is, but consider this.

Can you imagine Vortigern letting them escape?

Or being insulted at that hill fort

and turning tail? He’d have burnt it round their ears.’


Two days earlier….


The hill fort had been recently reoccupied.

The path rose, cutting a labyrinth of bank and ditch

until they were confronted by a well-made wall.

Everything was squared, trim, and even.

They waited in the shadow of the gate house

Then a voice, like the north wind coming off a glacier,

speaking British in defiance of their uniforms and banners.

‘Is Vortigern the Thin amongst you?’2


‘I am the Magister Militum,

Count of the Saxon Shore.’

‘Pretty titles for these ugly times.’

‘The Council summons you to London.’

‘Whatever your titles meant

when you left home,

here you are unwelcome.


There is no legion at your back,

nothing to ratify your idle names.

We can slaughter you and no one

no one, will come to bury you

let alone avenge your deaths.


Turn back, we will not follow.

Go home, we know the place

to break a column of toy soldiers

but we have better things to do.

‘We should have burnt it down around their ears.

They have sent a boy out on a man’s errand.’

The Risen Christ

Gloucester continued north.

Torch light and candle light

lamplight and firelight

and never enough light

to stop the darkness

infecting everything

so the edges blurred.


A marching camp, smoke rising,

the usual signs of occupation.

The bank is sagging underneath the wooden wall.

The platform like a discarded party streamer. 

No man could hold his ground on such a footing.

From a gate tower creaking in the breeze,

the watchman said, ‘No more than four.’

Gloucester and the Proconsul

are escorted to a timber building

with not one right angle in the joints.


In the middle, facing the smouldering fire,

whoever calls himself king of this rank and smoky space. 

A cloak of raven’s feathers, bright rings, armbands, native paint.

The protocols of embassy and messenger are swept aside.

He insists they kneel. When they refuse, he rises:


‘I am the risen Christ and you will worship me!’

Only the years of discipline stop Gloucester’s laughter.

This silly little man in this squalid little barn:

Christ how the world has shrunk

if fools expect such folly to be taken seriously.

The women are attractive, desirable but hesitant.

Eager to please their messiah. The apostles

are playground bullies in patchwork armour.


The proconsul is a bald, grey bearded man

who in his youth…etc. etc.

But now has the power…etc, etc.

It’s all implied and understood.

‘We’re all familiar with the law.’

‘This is the law,’ said the kinglet,

his fist smashing the bewildered face.

He asks the sprawling body:

‘Who will enforce your law?’


He knifes the writhing man.

‘I will’, he says, in the bloody silence

that is so profound, you can hear it

hold its breath and bleed.

Until

Gloucester grabs a log from the woodpile

and swings it hard against the Saviour’s head.

Blowing the hunting horn around his neck,

his men break through the flimsy wall.

The risen Christ and his disciples

soon lie scattered on the dirty floor.

The Wall

Impressive but redundant marker,

of a boundary the land ignored.


Camped at a central fort,

Gloucester waited for his scouting parties.

Men sent out along the roads

or following The Wall in both directions.

Stopping in the little villages.

Abandoned huts,

cooking fires still smouldering.

Rarely a furtive native,

perhaps an ancient man or woman

left behind when all the others

had taken to the heather.


Gloucester, in the rain,

supervising his fort’s repair

imagines ranks stepping into incoherent mobs.

The disciplined advance into barbarian chaos.

The grateful victors chanting their general’s name.


His command is leaking men.

Even here, snuggled into winter quarters,

riders don’t return, and patrols sent to find patrols

find nothing. No one. The land is empty. 


Did you dream about the other

who would solve your problems?

The pay rise you deserved

to cancel out your debts.

Did you clasp the lotto ticket

dreaming of your new life

if they called your numbers?

Did you throw it in the bin

and swear you’d never bet again?

Or did you keep on betting

long after common sense had called a halt,

and there was nothing in the bank

to fuel the fantasy but a bruising desperation.


Another party rides towards the turf wall further north,

along a broken road no one has bothered to repair.

The surface fractured by the travellers’ wheels

is best avoided. On the hills, blocked culverts,

force the streams to flood and wash away the terrace

and the road it balanced. Beyond all that

right on to the end of marching

past the broken watch towers and abandoned forts

to ditch and bank and sometimes rubble

where squatters huddle in the outline of a camp,

sheep graze and the indifferent, stupid cattle

trip on the remnants of a barracks floor

that once held 30,000 men

and housed the Emperor himself.


Standing on The Wall,

waiting for patrols,

he scans the bleak upland.

It doesn’t roll, it heaves.

The burnt look of moorland

the gullies and abrupt valleys

too untidy for his taste.

No straight lines except the roads

confidently heading south.


Here, at its northern limit,

the whole ruined empire echoing behind him.

Over there the chaos that slighted Rome,

source of the tidal surge threatening to drown them all.


News from the South.

Vortigern this. Vortigern that.

His fifty Germans had erased a raiding party

then seized their ships.

He’d want a Triumph next.

What were fifty tribesmen to his Legion,

forcing the channel crossing,

following their choice of Caesar.

It worked before.

The Western Empire could be saved.


The sun crawls over the horizon,

then slides, embarrassed, to the west.

Winter, immobility and failure,

creep towards him, deaf to threat or reason.

Days when the demented wind

battered them, assaulting roof and wall

while the horizontal rain trashed

anyone who dared to stand outside.

The world was dissolving in rivers of slime.

His soldiers slithered and flopped

as if some magic had removed their bones.

Soon winter would invest the fort,

forcing them indoors to brood beside their fires

and analyse his failures. 


Vortigern this. Vortigern that.


Questions. Disappointment.

The patrols encounter roads

that fade into the heather,

ruins in the glens, tracery of walls,

fear and incomprehension

and neither had an answer.

No violent opposition.

Until one shepherd, caught on the run,

shaking with fear, stammered:

there was a fort in the north west:

it had been repaired.


‘In Wood or stone?’

So much hung upon the answer.


He didn’t know. It was a story he’d been told

by a drover he’d been drinking with.

He wouldn’t even swear that it was true.

Far from any road, overlooking a river

that drained hills to the north.

Playing dress up in the ruins

They watched, while rain was turning into sleet,

the great gate shaking in the wind.

There were guards on the wall.


So they retreated to the ruined vicus                                                                                          

where traders and camp followers had sold their wares

unwrapped their eagle, donned their fathers’ uniforms

and moved in line towards the gate.


It opened, men in armour moving out

a legion on the march. Adolf saw the future:

the roads busy, the towns thriving,

but no legion ever staggered,

ragged arsed into a line that bent.

He rode closer playing Roman.

There was nothing Roman or Imperial on view:

patchworks of rust and improvisation.


Someone whose faded plume suggested rank

stepped forward. Braided hair leaked

from the badly polished helmet.

Only the little gimlets of his twinkling eyes

broke the bearded, tattooed face.

He spoke a mix of Pict and Legion

Gloucester struggled to translate.


Inside the fort, the walls contained a rubbish tip.

Once neatly ordered barrack blocks were patterns in the mud.

Dirty children squabbled in the wreck of the Principia.

Dirty women moved amongst the dirty huts.

Removing bits of armour with relief,

the garrison was every other native they had met.


‘They said that you would come for us,

the oldies.

They said: “The bastards sailed without us.

They’ll return.’’


We buried the last of them so long ago.

My father’s father. Take us back to Rome.

Take us to the bath house and the forum.

The oldies said that Caesar would reward our loyalty.’


They celebrated in the wooden barn

that once had housed the grain.

Perhaps they thought it was a feast.

Perhaps, they thought that this was how

the legions honoured their important guests.

So Gloucester lied about his errand. Pretended

Rome was still unscathed, the Empire

sound but still in need of loyal troops.

Would they drill for him tomorrow?


Those who weren’t too drunk turned out.

He counted less than fifty,

some too old to stand up straight.

Echoes of empire in mangled Latin.

Their drill was comically inept,

like little boys playing dress up

in a misremembered game.


They were no use to anyone.

He couldn’t take them with him.

But they wouldn’t let him leave.

So Gloucester gave instructions.


They rode away.

The wooden buildings smoking in the rain.

The bodies piled into a heap.

The glory that was Rome

left for the raven and the wolf.

  1. Adolf is one of Laȝamon’s oddities. Although he is a British hero, he has a very German name []
  2. He is ‘Vortigern the Thin’ in Welsh tradition []

Britannia in peril – an extract from an epic

Brazen Head Poetry Editor LIAM GUILAR is writing a Legendary history of Britain. Chapter One will appear in Long Poem Magazine in June 2021. This is Chapter Two from the story of Vortigern; Chapter Three will appear in the Summer issue. Further details about the Legendary history can be found at www.liamguilar.com

The story so far

In the fifth century, the Roman province of Britannia is now isolated from Europe. A combination of external threats, internal squabbling and two botched coups has left the Province on the verge of ruin.

But it was not only fornication that characterised this time,

but all the vices to which human nature abandons itself:

The people were abandoned by the Romans,

then led astray by vanity and error into a trackless place.

After Gildas, De Excidio, etc. para 20-21

Chapter Two – A Man of Heart?

A Royal Funeral 

…and the rain began to fall

on the polished armour of the honour guard

ornate, ceremonial and useless.

The wind mangling the bishop’s words

threatened to drag the flame from the torches

before they were touched to the pyre.

Vortigern in the place of honour.


You’re looking at the wrong man.

That shining burnished dazzle

is Adolf, Earl of Gloucester.

Breastplate’s modelled on a statue of Augustus

though which campaigns he’s fought in is a mystery.

He’s Magister Militum material.

Just ask him when you’ve got an hour or two.

Thinks his red cloak should be purple

and doesn’t care who knows.

He’d climb a dung heap

to crow above the competition

and call his stinking pile a kingdom

so he could call himself a king.


Vortigern the thin, the grey fox,

stands beside him. Primes inter pares.

Official speak to smooth the ragged fact

that nobody’s in charge.

They say that once this party’s over

the Vicarius will appoint his successor.


Look at the corpse of the King on the piled wood.

The senators in their windblown finest,

the priests and bishops, the civilian crowd

waiting expectantly for the spectacle.


Brigantes, Atrebates, Cats,

still scratching at old tribal sores.

You’d think four centuries of Pax Romana

would have softened the edges.

So you know we’re in for it my friend

the depth and spread and stink of it

when they’re so scared

they put aside their cherished

self-defining hatreds

and try to work together.


Vortigern framed the elegy he’d deliver,

had anyone asked, and honesty were possible.


Let us now praise Constance the King

Ruler of Britain, Father to us all.

Before we light his funeral pyre

before the flames consume the corpse

let us rehearse his virtues:

Son of a murdered usurper,

dim-witted in council, lacking in wisdom

useless in battle, cowering behind a shield

he could barely lift.

When his father was assassinated

the council ripped him from the monastery

because he was a Descendant of Brutus,

last of the Trojans, ‘legitimate rulers of Britannia’.

Not caring that he was indifferent to the law,

despising the church, a drunkard at the feast,

a sly despoiler of other men’s women:

Incompetent, untrustworthy, dead.

His much younger brothers

bundled to Gaul

where their mother will school them

in the arts of resentment.

Now those old men facing the pyre,

will preside over the death throes of Britannia.

These are the Good Old Days

(Name your drug of choice,

power, land, office, sex,

before the evening’s out

someone will make an offer.)


After the incense and the ritual incantations,

after the prayers and the sermonising,

after the God of Love has been

importuned for military victory,

a party to celebrate these coming men:

friends to drink to their success

who’d known them all their lives

although they’d never met, 

hoping to be remembered, hinting at

a son or protégé who might serve

in a minor capacity on their staff.

Then daughters, decorous and decorative,

well-briefed and drilled for the engagement.

Gloucester, good looking, single,

with the gift of the gab,

a tall figure circled by adoring females

pressing him with their attractions

while Vortigern is steered towards a corner

where members of the council

discoursed upon Britannia’s future. 


These old men, hungering for clues,

competing for his gratitude,

or the revelation of a weakness.

(Name your poison, power, titles, office, sex,

if it’s too embarrassing, just hint at it,

someone, with a mainline to the source,

will make an offer before the evening’s out.)


They want to be his friend

despite their previous contempt. 

Confident enough for hints, innuendo.

He’s not looking well, our aging leader.

The times do need a younger man.

Has a successor been appointed? No?

Walk around inside the pauses

and see the possibilities.

Implications dangling bait

for conspiracy or betrayal.

That’s not what I meant at all…

The council, the council must expand.

Of course, become inclusive, reach out

beyond the city walls, reflect the tribal

distribution, equality of representation?

We’ll need a leader everyone can trust

That rules out the Brigantes. And the Cats.

And the army? An imbalance in the leadership

to be addressed…Taken aside by senators,

passed around in a game of confidential whispers.

I’ve been watching your career with interest

please don’t misunderstand of course we

The Brigantes, after all I was only joking.


Men who would have lost their lunch

at the thought of living in a hut

now sought security, identity, community,

in a rediscovered tribal heritage

they were busily creating for themselves

made attractive by ignorance and nostalgia.

As though ‘culture’ was a buried hoard

that could be excavated, reused untarnished

not made irrelevant by time.

Their bad jokes advance scouts of a civil war.

What do you call fifty drowned Brigantes?

A good start? One hundred Saxons? Not enough.

Soon they’d rediscover druid lore.

invoking hailstorms against their enemies.

There’d be rumours of strange rituals

in forest clearings, and murders for the right

to put on silly clothes and be ‘Archdruid’.

Men protective of their privileges

their rank, their wealth, their family histories,

so proud of their rhetorical skills,

how they were Romans first and Britons second.

Soon they’d be daubing themselves

and trading their sophistication for survival.


Lamps were lit, slaves ghosting between the diners.

Forced female laughter, twining around Gloucester’s voice,

erupted arrhythmically from the other corner of the room.

Vortigern was wondering how long he had to stay

until an older woman at his elbow said:

‘As if any of them cared.

Did they not see the empty streets?

The ruined houses?

We’ll all be dead within the year

and still they play the same old games,

betting long odds on a future

that ceased to exist before most of us were born.


I’ve heard you read?  Do you study Caesar’s wars?

take notes on Onasander? Who’s your favourite author?’


‘Ovid.’


The most accomplished actress

can be startled into honesty.

The Art of Love? She’s too surprised

to hide her disbelief.

Freed of obligations by the insult,

he laughs at her reaction.


‘’The Metamorphosis. A poem for our times.’


‘Everything changes, nothing stays the same’

‘So much changes; so little stays the same.


More accurate; less memorable.’


Next morning there would be a slave

outside his lodgings with a scroll:

or a rare copy of his favourite text

left discreetly on a table.

Name your poison?

He had nothing she could want.

They chatted about literature,

two educated diners waiting for Ovid 

to come posturing through the doors

and scandalise the rich and bored

four hundred years too late.

‘At least’, she said, before she left,

‘one can choose how and when to die.’


After the ladies and the elderly retired

someone produced ‘the girls’:

courtesans who had been paid

or lesser daughters and more desperate wives.

These two men were poised

before the ladder’s upper rung.

When Survival’s on the auction block

you’ll bid with what you’ve got

even if your daughter’s splendid tits

might be your only asset,

hoping they’d be remembered

if one of these two men succeed.


The evening blurring into heaving flesh

scenes for a fresco on a wall in hell:

two prelates spit-roasting a German slave

the girl’s blonde hair incongruous

against the bishop’s bony knees.


A pretty face, well-practised,

In the amatory arts,

her manoeuvres mindlessly

but expertly performed. 


The Matron’s words:

‘I will not watch my daughters

whore themselves to the barbarians.’


She’d call it family politics

and therefore no lost dignity

if she pimped them to a Latin speaker on the rise?


‘One can at least choose how and when to die.’ 

All evening she had sought for an analogy, 

as though precision would validate her suicide.


The lights had faded, the room

a roiling sludge of limbs.

In the foul smoke of oil lamps

a different thinner face,

dark curls plastered to her forehead.

Shut eyed, languid, sinuous,

movements stuttering to her own satisfaction.


Her final version: ‘We’re players

who turn up to find the theatre

has burnt down, and no one’s left

to watch our well-rehearsed performance.’


He gathered up his clothes

stepped his way towards the door.

The bodies on the floor moved fitfully,

scum on the edges of a stagnant pool

shrugging as the ripples died.

Stepped out into the clarity of early morning.

He would not remember them.

There were far too many dead

already begging his attention.

Vortigern in London

The past’s a broken mirror

making the present looked deformed;

the crook backed limping child

of disappointed parents.

The age of iron rusted out,

our age of stone is almost gone.

Now comes an age of wood

where everything can splinter, rot or burn.


The horizon’s clear of smoke,

nor dotted by wheeling carrion.

But the city is dying into itself.


Here there was noisy spectacle.

Stone humanised by speech

now stone without story

is simply broken stone.

Your ancestors’ most sacred site,

or random spillage of disjointed rock.

This coin he’d rescued from the mud,

portrait erased; inscription illegible.


Behind him reeking tidal mud.

The wall he stands on killed the port.

Where his grandmother played

burnt timbers, blackened roofs.

The cart tracks overgrown.

This is what time will achieve

when no one bends a back against it.


Late in this afternoon. A merchant ship

backlit by the golden river,

the slow drift of it at odds

with the frantic scurry of the crew.

The bridge has been maintained

but there are few ships on the Thames.

Few traders skirting down the coast,

fewer coming from the continent.


The evening is turning cold,

the city shrunken, huddled

against its inevitable night.

To his left on the hill,

the amphitheatre’s a piece of wall,

water glinting in the ponds

filling the robbed-out pits

between the piles of weed grown rubble.


There have been bad times before.

But the danger was no longer out there, beyond the walls.


It was in the civil men and women pretending

to be outraged by the new graffiti:

‘Romani non Germani!  Britanni non Barbari!’

As though the idiots who daubed those words

didn’t have at least one grandparent

born somewhere in the empire’s furthest reaches.

Aurelius and Uther, fled to Brittany

after their father then their eldest brother

botched their coup, now proclaiming

they could trace their bloodline back to Brutus.

A standard move to add legitimacy and lustre

to a power addicted family on the make.

Ironic given Brutus was a Trojan immigrant

who slaughtered the indigenous inhabitants.

But when did logic play a winning hand in an election?


When a man like Constantine, caught in his lies,

shrugged and claimed the words he’d used

meant only what he wanted them to mean,

then law became impossible, and titles empty.


The steady rumble that replaced the traffic noise was fear.

Not just fear of incomers and raiders

fear of people who had once been neighbours

and were now ‘others’ to be hated.

Any other, anyone who was not a friend

and trust in friend and family was rotting

because when incompetence and talent

are equally dangerous, look to yourself.


One day he wouldn’t hear the assassin

or see the bowmen hiding on a roof

but he has heard Adolf of Gloucester,

coming along the wall.


Count of the Saxon shore.

Man Most Likely to Succeed.

Gloucester coughs, speaks.


‘He’ll see us now.’

It’s meant to be affable,

drinking buddy confidante.

‘What do you think he wants?’


Vortigern shrugs.

Rude or reticent, it’s hard to tell.

He’s wondering why here?

The roads still spin out across the country

but it’s a long way from the danger zones.

An uncharacteristic nostalgia?

Or a final gesture of farewell?

No one alive remembered the Vicarius

in the days of his youth

His parties were notorious

for excessive decadence.

Perhaps that was nostalgia

for another fabricated past,

the court of Caligula and Nero

when any vice was possible

‘Why not’ sufficient reason

and ‘no’ was not an option.


He is dying without an heir.

He has outlasted Constantine and Constance

and sent the Boys to brood upon their rocky headland.

Word is, he’s going to choose.

Why else call the two contenders

for a private meeting?


Cain and Abel taking their offerings to God.

And we know how badly that turned out.


If you define your progress

by the titles you accumulate;

you measure your success

by your graded movement

along a string of words.

What makes them more

than complicated echolalias,

meaningless as infant babble?

Count of the Saxon Shore,

Magister Militium, Consul,

Heir-Apparent, King?


Vortigern, if pushed, defines success

as battles won, problems solved, lessons learnt,

might have asked ‘Heir to what?’

40 emperors in a hundred years

God for a month, then erased

like the portrait on the coin.


Council members shoaling from the building

form self-important, self-regarding groups

who nod to both the soldiers as they pass.

Overseers of the death of meaning,

Peddlers of cancerous euphemisms,

revelling in the endless crisis of definition

that passes for meaningful debate.

Still busy fighting over granddad’s privileges.


Pay attention now and watch how they react,

trying to pick the winner before the dice are rolled.

Some greet Gloucester. He’s done terrible things

to earn their gratitude. But he speaks when spoken to,

can be counted on to say the right things at the right time

and pay his dues when his debts are called.  


Some acknowledge Vortigern.

See how wary they become?

He’s in no-one’s pocket.

But they all know he’s the silent go to man

when the shit’s on the fan.


In this tired world, titles and positions

are still the gifts of slack old men:

ancient relics twinkling in the wreckage

like stagnant ponds in the ruined amphitheatre

catching a fading sun.


But not this man, not Ambrosius.

He is the ghost of whatever made the Empire great:

devious, unpredictable and dangerous.

Authority regardless of his titles or his clothes.

Neither clumsy copy nor conscious fake,

the steady pilot who would face whatever storm

to bring the Ark to safety, with Noah’s indifference

to the millions drowning who were not on board.


They bend over a map of Britain.

Gloucester finding this foreplay tedious

wanting to hear the job is his

or know the details of their final test.


Ambrosius, between coughing fits.

‘We asked the Western Emperor for troops.

His Master of Horse tells us to look to ourselves.’


Vortigern.

‘There’s rumours that the Huns are on the move.

A half a million men. Attila claims the empire

his by right of promised marriage to Honoria.

If even half that number enters Gaul

the Western Empire’s gone for good.’


Ambrosius.

‘In Britannia Secunda our writ no longer runs.

We summon them and they refuse.

North of the Humber the cities are abandoned,

two bad harvests and constant raiding have brought famine.

They have begun to squabble for the scraps.

A few armed men, a bit of wall, a tribal hill,

a man’s reach might stretch to the tribal boundary.

There’s no tax collection, so no distribution.

So many starve.’ (More coughing)


Gloucester:

‘Picts from the north, overland 

through the ruined gates of the wall.’


Vortigern Interrupts.

‘Some of those Picts are Britons painted blue.

They think it best to hide themselves.

Soon they will forgo pretence.’


Why this might be significant

is lost on Gloucester who continues:

‘Irish slavers down the western coast.

Germanic pirates in the east and south.


If we go east, the west is burnt

If we go north they sack the coastal towns.

Strike and run and be long gone

before a rider brings the news


We need three legions, at the most.’


But no one laughs. 

They remember their grandfather’s stories.

How the forts stapled law and order onto the wilderness.


The map still shows the roads

linking fort to town, town to port,

port to other towns and other forts

on and back across immensity to Rome.

Well-kept roads loud

with merchants and soldiers

messengers, supplicants, embassies

crunching the heartbeat of empire. 


Ambrosius:

‘We are like a goodwife swatting spot fires,

growing weaker with each victory.

Either we train a national army

or recruit more mercenaries.

One will take time we do not have.

The other, when the pack’s too big

the dogs turn on their master.’


The awkward map confirms their lack of options.


Adolf: conversational, exploratory.

‘You’ve heard the rumour of the legion

that was left behind?’ Vortigern waits,

wondering what revelation is at hand.

‘If they retained their discipline

they will have instructors.’


No revelation, no solution

just the gambler’s dream of the winning card.

‘Limitanei gone native?

Somewhere along which wall?

There were so many forts and marching camps.

and even if we had the time,

we’d never find them all.’


Did the old man change his mind

or had he planned what happened next?

He turns to

Gloucester.

‘If you think it’s worth the risk

after our envoy has delivered his messages

take whatever men you need.

Take Eagles too, and trumpets,

search out your fathers’ uniforms.

Appear to them as Roman as they were.’


Gloucester thinks he is the organised man.

A lover of maps, a maker of lists.

Now caught by this unexpected switch,

trying to impress with plans he’s making on the fly.


‘I’ll head to Lincoln, there to meet my scouts.

…we’ll take the inland road.

From York’….and Vortigern, unimpressed, lost interest. 

Three thousand men? How could they be hidden?

Garrisons along the wall had gone native,

and whether you called the garrison commander

Tribune or King made little difference.

Everyone who’d been that way

had met such useless bastardised communities.


When Gloucester left

the old man, staring at the map

keeps Vortigern waiting.


It’s easy for a map to lie.

These forts have long since ceased to function.

The roads are overgrown or braided to confusion.

This is a tidy memory of a dead world.

Not even accurate when it was made.


Ambrosius

‘Your father-in-law was my good friend.

He and your father were both honest men:

hard working, loyal, at a time

when all those qualities were out of fashion.’


‘My father-in-law lead an army against the Empire

and left this island undefended.’


‘Your father-in-law led an army

against corruption, greed and inefficiency.

He planned to hold the Rhine and make Britannia safe.’


‘He thought he would look good in purple.’


‘Resentment is an easy hand to play for very little profit. 

Three Saxon ships have landed on Thanet.

They’re asking to be taken into service.

Go there, you’ve dealt with them before.

Use your judgement. Offer the usual conditions.

They might be more useful than a phantom legion.’

Rewriting the Middle Ages

LIAM GUILAR likes a radical reimagining of a venerable Welsh work

Isolated in Aber Cuawg

Harry Gilonis, Oystercatcher Press, 2020, 19 pages

‘Claf Abercuawg’ is a Welsh poem composed perhaps in the ninth century. Claf, as a noun, means a sick person, a patient or a leper1. Abercuawg is an area of north Wales. There is an ‘I’ who looks out at the landscape and speaks about it and his isolation.

This pamphlet contains an English translation of 32 three line stanzas, a short introductory essay, placed significantly after the poem, and some textual notes. The essay is a concise, necessary introduction to the differences between this poem and a modern English one. The pamphlet is visually attractive, robust enough to handle the rough usage it has received, and overall very good value for money.

The opening line announces the poem’s difference: “My mind’s requirement, to be sat atop a hill”.

In the 1970s, Glyn Williams translated this as “To sit high on a hill is the wish of my heart”2

Superficially, Williams sounds more natural, and perhaps immediately preferable. But the differences in word choice and order reveals the strength of Gilonis’ translation.

Generally3 the contemporary trend seems to be to assume that the people of the Middle Ages were modern people in funny clothes, suffering from bad ideologies and severe technological deprivation. The consequences of such assumptions are numerous and they are all bad. The logic runs that because these people are us, then their stories can be presented as we think they should have been written, or would have been written if the original composers weren’t so clumsy. And because they are ‘like us’ then they should have known better. Therefore, the things modern observers find reprehensible in medieval behaviour and ideals can be easily condemned and preferably erased, because both are easier than trying to understand the essential alterity of the period.

The most invidious and invisible form of this domestication is when a translator surreptitiously converts a medieval text so it operates to modern, post-Romantic assumptions of how poems should function, and how a modern person would behave or think in that situation.

Gilonis, to his credit, avoids these traps. Ironically, part of the effectiveness of this translation lies in what he hasn’t done. “My mind’s requirement” does not sound like modern English. But it’s grammatical and makes sense. He walks the fine line between respecting the alterity of the original and turning the poem into something that works in English. He does this without domesticating the original, or turning it into a museum piece.

The translation, as translation, can be compared with different translations. Here are three versions of the last verse; Gilonis’ is the third.  

The Leper was a squire; he was a bold warrior

In the court of the King

May God be kind to the outcast.

Jenny Rowland4

A youth was Leprous; once a bold leader

In the royal palace.

God be kind to the outcast.

Joseph P. Clancy5

Isolated, once a warrior, once a champion, daring

Once in the court of a king

May God be kind to the outcast.

I prefer Gilonis’ version, but the key objective difference is the disappearance of ‘leper’. While Jenny Rowlands goes to some length to show how the speaker of the poem is indeed a leper, she’s also aware that it is not the only option (pp.191-193). The original poem would not have excluded other interpretations. As she points out, the solitary figure in a hostile landscape, well-known to readers of Old English, is as much a symbol of life on earth (with or without God) as a literal character. But translating claf as ‘leper’ would be to choose one option and for the reader of the translation to limit those other interpretations. It also throws the poem into the distance.

Gilonis defends his decision not to translate claf as ‘leper’ in the notes. The poem isn’t distanced from the modern British or American reader and the other possible readings of the text remain open.

Obviously the idea of someone isolated due to illness has an immediate contemporary relevance. The temptation would be to push the point, the use of deliberate anachronisms being a popular technique. Gilonis writes: “The resonances, in 2020, don’t need ramming home” (p10).  In 2020, ‘isolated’ was such a loaded word it should resonate without ventilators or prayers for vaccines turning up in the translation.

One of the strangest features of this poem is that, as in Old English poetry at this period, the speaking ‘I’ is an empty space anyone one reading the poem can step into. It’s merely a subject position, not an historical or fictional character, nor the product of autobiography. This is emphatically not a dramatic monologue in the Browning/Tennyson tradition, nor an ‘I’ in the tradition of English poetry from Wyatt onwards. While some speakers in the ‘saga poems’ of medieval Wales are characters in a fuller story, the speaker in this one exists only in this poem.

Some early Welsh verse, like this, simply don’t operate to the rules we assume govern modern poetry in English. There’s no clearly developed progression from an opening to an ending. There’s no ‘internal coherence’. The poems operate to their own rules, and those rules, leaving aside the complicated metrics, simply aren’t post-Renaissance or classically inflected English. There is description of landscape, but whether it’s meant to evoke the speaker’s mood or describe a place is questionable, and whichever answer you pick in one instance will be undermined in another.

Description is jammed against statement: but the relation of the two seems marginal, and the statements, as in the second line below, might be gnomic wisdom or just statements of fact. Either way, their relevance is never obvious:

Bright are the tops of the valleys; long the small hours.

Expertise is always praised.

Am I not to be granted the sleep due to the ill?

Temporally the poem hops around, sometimes in the same stanza. The overall effect is that the poem is swirling, but the swirl isn’t spiralling to any conclusion, just to the last word, where the poem stops. Gwyn Williams only translated ten of the 32 verses, but the ’extraction’ (his term) doesn’t seem to damage the poem in any way.

For general readers of English poetry, the pragmatic value of early medieval poetry, treated honestly as it is here, lies in the challenge it makes to the learnt reading practices of the school room and the lecture hall. A poem like this one, that obviously works, but not to ‘our’ rules, is a confrontation with the limits of our reading practice, and our assumptions about what a poem is, does, and can be.

This difference between what worked for a medieval Welsh audience and what a modern reader of poems expects gives the translation another level of interest. The original might have been written over 1,000 years ago, but this translation wouldn’t be out of place in something like Harriet Tarlo’s 2011 anthology of ‘radical landscape poetry’6.  

As such, it’s a blunt reminder that any claims made by ‘avant garde’, ‘experimentalist’ or ‘postmodern’ poets in the 21st century for the ‘innovative’ or ‘ground breaking novelty’ of their work is undermined, if not flatly contradicted, by the history of poetry. Whatever ‘it’ is, ‘it’ has usually been done before. This should negate the familiar excuse for writing abstruse nonsense – ‘But it hasn’t been done before’ – and focus the question on ‘Was it worth doing?’

  1. http://geiriadur.ac.uk/gpc/gpc.html []
  2. Welsh Poems Sixth Century to 1600, Faber and Faber, 1973, p.23 []
  3. ‘Generally’ in terms of popular culture, films, books, and public discussions []
  4. Early Welsh Saga Poetry: a study and edition of the Englynion, D. Brewer 1990. p. 497. This is the essential encyclopaedic text, commentary, study and translation of these poems. Rowland makes no claim for her translations as ‘literature’ []
  5. The Earliest Welsh Poetry, Macmillan 1970. p.94. Clancy reverses the order of the last two verses so this is the penultimate in his translation []
  6. The Ground Aslant. An anthology of Radical Landscape Poetry, Shearsman, 2011 []

The once and un-killable king

King Arthur: The Making of a Legend

Nicholas J. Higham, Yale University Press, 2018, 380 pages

LIAM GUILAR marvels to see a sledgehammer being wielded against castles-in-the-air

People in Britain have been telling stories about an ‘Arthur’ since at least the 9th century, possibly earlier. In the Middle Ages, those stories include some of the finest literature ever produced in Europe, culminating in Sir Thomas Malory’s 15th century masterpiece.

Scholarly arguments over the existence of an historical King Arthur, a single figure as point of origin for these stories, are more recent. In the mid-20th century, the idea that there was an historical figure gained ground, but the high-water mark of scholarly attempts to argue the case had passed by the 1980s. Leslie Alcock (Arthur’s Britain) and John Morris (The Age of Arthur) were both respected academics, but both their books, especially the latter’s, received the kind of academic reception about which scholars must have nightmares.[i].

Despite repeated attempts by experts in the field of ‘post-Roman’ or ‘Dark Age’ or ‘Early Medieval’ British history to discredit the various candidates, and despite the lack of evidence to support any of them, the arguments rumble on. Nicholas Higham’s new book is an attempt to demolish the idea that there is an identifiable historical figure who is the real King Arthur. It seems doomed to fail. He is not the first scholar to announce that the historical Arthur did not exist. It’s unlikely he’ll be the last.

In 1977, David Dumville, one of the leading authorities on the sources for early medieval history in Britain, concluded an article that discussed the Welsh evidence for an historical King Arthur:

The fact of the matter is there is no historical evidence about Arthur; we must reject him from our histories and, above all, from the titles of our books

In 2013 an equally exasperated Guy Halsall, an expert on early medieval history, wrote a book offering “a corrective to the shelves of pseudo-Historical ‘Arthurian’ nonsense available in practically every bookshop in Britain”, concluding,

No sane scholar will now argue that there is definitely a “King Arthur” figure in 5th– or 6th-century history about whom anything solid can be said

In 2018 Nicholas Higham, who specialises in what used to be called ‘The Dark Ages’, produced this encyclopedic refutation of the varied and various arguments for an ‘Historical King Arthur’. He lines up the contenders – the Sarmatian Arthur, the Greek Arthur, the list of nominees with names sounding like Arthur or those whose names sound nothing at all like Arthur – the ‘if this, then this, and then that means we’ve found Arthur’ arguments, and one by one he knocks them over.

Higham’s conclusion is that

[…] we can now agree to discount King Arthur as a ‘real’ figure of the past, leaving him and his deeds to the ‘smoke’ and ‘highland mist’ of make-believe and wishful thinking; it is there that he properly belongs

I distrust that first person plural which Higham is fond of using. Reading the book is like being bludgeoned, very thoroughly and very carefully. It should settle the argument. But it won’t. Even the blurb on the cover hedges its bets. Max Adams, identified as the author of In the Land of the Giants, is quoted: “Riveting…brings the historical Arthur to what may be his last decisive battle”. “May be” because, given the nature of the evidence, there is never going to be a final, irrefutable argument.

Candidates for the historical King Arthur have their partisans. But if the experts have become more wary, the field is still held by enthusiasts who fly on a combination of ill-informed speculation and wishful thinking. They simply cherry pick ‘information’ and don’t bother with the usual rules of evidence, source analysis, linguistics or logic. If anyone is arrogant enough to believe that lacking the skills and knowledge required to move through the tangle of evidence puts them in a position to argue with people who have spent their professional careers studying that evidence, then nothing is going to dent their self-confidence.

The question of Arthur’s existence hinges on a very limited number of sources, and the combination of skill, knowledge and training required to assess the reliability of those sources is very rare. There is a world of difference between ‘looking stuff up’ on the internet, or in the library, or in the museum, and doing research. The failure to understand that difference, which is becoming increasingly widespread, lies at the heart of the ‘Arthur Was Real and Eureka I’ve Found Him’ phenomenon.

A scene from John Boorman’s Excalibur

The scarcity and unreliability of the surviving written sources can be hard to grasp. Imagine if 1,000 years from now, you are tasked with writing the history of the Trump Presidency. Your only piece of evidence is a copy of a copy of something from a newspaper. The copy was made in 2320. There’s a name attached to it, but you know nothing else about the journalist. You don’t know which newspaper the text is from, nor do you know if it is from an editorial, factual report, opinion piece or work of fiction. You have no way of checking anything in it against other sources.

And if you think that reconstructing four years from such a fragment sounds difficult if not impossible, then spare a thought for the historian of the 5th and 6th centuries in Britain, who can put the only surviving piece of contemporary insular ‘narrative history’ on a couple of PowerPoint slides. That oldest surviving narrative, written by Gildas within living memory of the battle of, or at, Badon, does not mention anyone called Arthur[ii].

All the other surviving sources were written much later and they all need to be handled with care. The problem with the sources can be demonstrated with one example,

What may be Arthur’s earliest appearance in an insular text comes in a collection of eulogistic stanzas of early Welsh poetry collectively known as y Gododdin

While often referred to as ‘a poem’, Y Gododdin, as Higham rightly states, is a collection of verses commemorating a Northern British raid on the Saxons at Catreath. The raid was a complete disaster and the verses celebrate the men who died. The problem is that Y Gododdin only survives in a 13th century manuscript. The work is generally credited to Aneirin, who is said to have lived in the 6th century. It’s worth pausing to remember that the distance in time between ourselves and Shakespeare is less than this. How much of the material, if any, in the manuscript dates back to the 6th century is a matter of scholarly controversy. Obviously, the date of the ‘Arthur reference’ makes a huge difference to the value of that reference.

Higham is willing to accept an early date, and he quotes the relevant stanza in English. The last four lines read:

He used to bring black crows down in front of the wall 
Of the fortified town – though he was not Arthur – 
among men mighty in deeds 
in front of the barrier of alder wood-Gorddur

Gorddur is the warrior’s name, and he is being praised for his ferocious deeds in battle, although ‘he was not Arthur’. That’s all there is.

The enthusiast says it’s obvious that here we have a reference to a famous Arthur, and this proves stories of King Arthur must have been circulating (off-stage) when this verse was written.

The sceptic asks for evidence that independent stories circulated about a real character called Arthur at the time this verse was composed. The enthusiast points to the poem. Aneirin must have been able to rely on his audience to know the stories, in order for the allusion to work. The allusion proves the existence of the stories and the stories guarantee the validity of the allusion. Dizzying?

Nor does it tell us anything about Arthur except it was a famous name. It doesn’t help us to identify an Arthur, or tell us when or where or if he lived.

A literate person with the necessary patience can follow Higham’s summary of the complicated problems of dating Y Gododdin in general, and of that line in particular. But there are very few people who can read the manuscript, or its facsimile, and the number of people on the planet who have the expertise to negotiate the dating arguments and evaluate the evidence for themselves probably wouldn’t fill a coach for a day trip to Catreath.

And therein lies the real problem. Early British, post-Roman history, is a highly specialized field, but Higham, as did Guy Halsall before him, bemoans the fact that in many ways the specialists have withdrawn from the debate:

Today most specialists distance themselves from the whole issue of Arthur’s reality, citing insufficient evidence to be able to judge his place in history and declaring themselves agnostic on the matter. But their silence leaves the history-reading public with insufficient guidance to the competing claims and without the specialist knowledge to judge between them effectively, for these are highly complex issues

Higham is critical of ‘agnostic’ scholars who refuse to be drawn into a conclusion on the subject. Ironically, Max Harris, whose comment is quoted on the cover of Higham’s book (see above), wrote, in his introduction to In the Land of the Giants:

And then there is Arthur. Historical references to this legendary Romano-British warlord are very few: a list of 12 battles; a great victory recorded at a place called Badon (perhaps Bath in Somerset) a death notice, a possible mention in a battle poem [iii]

This short reference to King Arthur continues with a classic piece of professional ‘agnosticism’: ‘Arthur may be, as many historians have argued, an irrelevance, a distraction’ (p.14). Adams also includes the ‘dates’ from the Annales Cambriae for the battles of both Badon and Camlann in the timeline of the Dark Ages he appends to the book (Adams, Appendix two, p. 429). That ‘may be’ that leaves the door open – just as the inclusion of the Annales Cambriae dates for Badon and Camlann in a timeline with verifiable dates gives them a spurious authenticity [iv].

For all the evidence Higham can marshal, (his bibliography runs for 23 pages of small print) there’s never a knockout punch. If Y Gododdin demonstrates the problems inherent in the evidence, Higham’s detailed discussion of the Historia Brittonum demonstrates why it’s not possible to close the argument.

The 56th ‘chapter’ of a document known as the Historia Brittonum (hereafter HB) is the crucial piece of evidence for enthusiast and scholar alike. HB chapter 56 contains a list of Arthur’s 12 battles. It’s the oldest surviving piece of extended writing about an Arthur. It names him as a victorious war leader against the Saxons.

‘Chapter’ might be misleading. It runs to 23 lines of continuous Latin prose in John Morris’ edition. Though written in Latin, compiled in the early 9th century and ascribed to ‘Nennius’, for most of us, our access to this strange text is through John Morris’ 1980 translation, which is not without its own problems[v].

Higham, like many before him, quotes the ‘chapter’ (p. 185). But I think that misrepresents the HB. The focus on chapter 56 allows people to treat this strange compilation as far more factual than it is. My own interest is in the earlier story of Vortigern (HB 31-49) who takes up much more of the HB than does Arthur. The Venerable Bede, writing at the beginning of the 7th century, following a hint in Gildas, had made Vortigern instrumental in the fall of Roman Britain. In the HB he has become an incestuous, bigamous, drunken fool in a bad folk tale about a beautiful princess. It is not history as understood in the 21st century. Ambrosius Aurelianus, who also appears as an historical character in both Bede and Gildas, has become a vatic child who was born without a father[vi], and St Germanus of Auxerre, who is perhaps the one person in this motley crew who can be established as undeniably historical, has become a spell-working magus who prays Vortigern to a fiery death in his tower[vii]. Reading the whole text does not inspire confidence in its factual accuracy[viii].

Higham, to his credit, takes on the whole of the HB and he’s very good on what it reveals about how different 9th-century attitudes to writing about the past are to our ideas of writing history. His chapter on the HB is worth the price of admission, even if you have no interest in ‘Arthurs’, although he has written about this, at length, before.

However, it’s not possible to dismiss the ‘Battle List’. It’s not enough to point out that no one has identified the battle sites with enough conviction to convince everyone else. (Guy Halsall reported one attempt to do so based on the names of modern pubs (Halsall, 2013, p. 154)); or that if the enemies are Saxons they seem to have been much further north much earlier than any other source suggests; or that the number 12 in a work riddled with biblical echoes seems more than a bit suspect and Arthur’s 12 battles mirror Patrick’s miracles as R.W. Hanning pointed out in 1966 (p. 120): or that some of the battles seem to have been fought by a leader who chose his battlefields because their place names rhymed: or that single handedly killing 960 enemies in a single charge sounds a tad unrealistic. Even with ten hours of daylight, how many deaths is that per minute, every minute, without a break for ten hours[ix]?

There’s more. At least three centuries have passed between the events described and the time of writing. Despite decades of attempts to find one, there is no evidence for an earlier source for the list. A lost poem is the best candidate, but then it would have to be a very strange poem and a list of rhyming battles might still be unconvincing. Anyone who claims that HB 56 is based on accurate oral transmission has to explain how, given that at least 14 generations have passed between writer and event, any oral story could be passed down without alteration. As a rule of thumb, students of oral history accept accuracy is possible in a story passed down for three generations: from your grandparents to you. Not, as Higham points out, a story passed down about your “great-great-great-great-great-great-great-great-great-great-great-great-grandparents (give or take a generation either way)”.

Despite all this, the weight of evidence can only say: ‘it is highly unlikely that this is a reliable source’. Higham’s analysis of the way Nennius uses other names in the HB whom we know to be historical, leads him to the perfectly demonstrable conclusion that: 

This was a scholarly community prepared to manipulate the distant past, shift individuals around and invent characters to make British history fit for purpose. They amended names to better suit their needs, misquoted from and rode roughshod over earlier testimony, fictionalized historical figures and made up others de novo. The harvesting of names from their original setting to be reused in a different context was commonplace

But he can’t prove this is what happened to Arthur. He can only suggest it is likely. He also claims that to understand the HB,

Our treatment of it must depend on understanding why it was written, where the author obtained his information, how he used what he had gleaned and the ways in which he expected his work to be understood

In his discussion of these features, he’s as guilty of speculation as anyone. Granted his speculation is much more well-informed, he’s still straying out of the world of facts. He is attempting to construct not only the context of a text that does not fit any modern genre, but its contemporary purpose and reception when there is no external evidence for these. Without knowing anything about the Real Author of this text, he’s going to draw conclusions about his intentions.

When Higham lists what can be inferred about the author from the text he’s constructing an Implied Author. It’s the reader’s idea of the author. We have no way of knowing who ‘Nennius’ was, let alone why he wrote what he did, if in fact he did write it. The ‘context’ of a written text is always a construct[x]. In the absence of corroborating evidence independent of the text, such a construct is never going to be the final word on the subject.   

I’d back Higham’s informed speculation against most people’s, but there’s no escaping the fact it’s still speculation. He slides from qualified statements, ‘the prologue if accepted as original……in that case he is likely…’ (my italics) to declarative ones:

These were Latin texts written by churchmen tasked with repositioning the Britons within a tradition of European history that centered on Rome

It’s that ‘tasked’ that rings the alarm bells. His reading of the evidence supports his hypothesis, but there’s no way he can prove it.

Sir Bedivere casts Excalibur back into the lake

Higham does need to be applauded for his willingness to accept that medieval authors made stuff up. There’s a peculiar strand in medieval studies, both amongst professionals and enthusiastic amateurs, that works on the assumption that everything that interests us has a prior source. Put like that, it sounds ridiculous. But the unstated assumption is that fiction is a post-medieval invention. So, when Higham surveys the evidence and writes

Wace’s introduction of the Round Table to Arthurian literature was a practical solution to an imagined problem, which there is every likelihood he came up with himself

it’s one of the best moments in the book.

The Tudor invention of Arthur – the “Round Table” in Winchester Cathedral

Given that none of the evidence for an historical Arthur seems convincing, why the persistent arguments? I think people want to believe, and don’t understand or care that the existence of an historical figure, like Alfred the Great or Lady Godiva, is not a question of belief but of provable fact. The arguments over Arthur repeatedly illustrate one peculiarity of early British medieval history. Given the lack of sources for the 5th and 6th centuries in Britain, it’s almost impossible to prove someone didn’t exist. Therefore, says the ‘agnostic’, we have to accept the possibility he did.

Higham is strongly, justifiably against this. He quotes Bertrand Russell:

’Many orthodox people speak as though it were the business of sceptics to disprove received dogmas rather than the business of dogmatists to prove them. This is, of course, a mistake.’ He illustrated the point by supposing the existence of a teapot in orbit around the sun that is too small to be visible through even the most powerful telescope. That this assertion cannot be disproved does not mean that it should be allowed to influence our thinking about the solar system. That way only chaos lies, for such speculations are infinite

Beyond a desire to believe, what reason is there to even entertain the idea of an historical Arthur? The answer to that probably lies in a bad metaphor which should have been dismissed the first time it was used. A long time ago someone advanced the argument that since ‘there is no smoke without fire’ there must be a factual, historical basis for the medieval stories about King Arthur. Higham returns to this metaphor in his final chapter and tries to replace it with another, but it’s time someone got rid of the habit of arguing based on inappropriate metaphors.

There may well be no smoke without a fire, but stories aren’t smoke. They are stories. The metaphor implies that all stories have some kind of factual basis. That’s demonstrably not true. If we throw out the inappropriate metaphor, there’s nothing left but wishful thinking.

Anachronistically-armoured knights feast with Arthur, who is in the Round Table

For all the detail, the knockout blow never arrives. Each chapter has its conclusion which sums up the case against the particular contender/argument, and then everything is summed up again in a concluding chapter. This makes the book laboured and repetitive. While the marshalling of scholarly argument is impressive, as the book progresses and Higham goes after some of the ‘fringe’ dwellers, it starts to sound brittle.

I admit to bemused admiration for Graham Phillips. He has made a career out of finding things Arthurian. He found the Grail. He found Camelot. He identified the ‘Real King Arthur’ as Owain Ddantgwyn using a chain of reasoning that was so circular it makes a spin cycle look linear. He has not let scholarly opposition or derision stop him. Give the man his dues: he’s held his line. Recently he claims to have found Arthur’s grave[xi]. The idea that Arthur’s 5th century grave can be found by reading Sir Thomas Malory’s 15th century text has so little to recommend it that it shouldn’t require pages of detailed refutation. It is a fine example of Russell’s orbiting teapot.

And despite what Higham has written about not being obliged to disprove the existence of orbiting teapots, he’s put himself in the position where he has to do so. If the purpose of the book is to educate the history-reading public, then he has to engage with Phillips’ argument. Reading his three-page explanation of the flaws in a portion of Phillips’ argument (pp. 264-267) is like watching someone trying to swat an annoying but mobile ant with a very large, very heavy hammer. It’s hard not to think that all this erudition could be put to a better use.

Despite all the knowledge, despite the careful explanations, despite the clear statement of intent, it is hard to assess how successful this book is. Who is its target audience? Higham claims,

The purpose of this book, is therefore, to set out the main arguments which are on offer, test each one against the sources on which it relies, and determine which, if any deserve support

But it’s difficult to avoid the feeling that the conclusions were written before the tests had been done.

Anyone interested in Arthurian studies, historical or literary, will benefit from reading the book. It’s an encyclopedic survey of the subject, written by an expert. It gathers together disparate information, and the Sarmatian, Nart and Greek chapters are a welcome summary of those diverse cases. But I wonder if Higham really thinks that someone inspired by the Clive Owens’ 2004 film King Arthur which was advertised as “The untold true story that inspired the legend”, is going to read his detailed, painstaking deconstruction of the argument that Lucius Artorius Castus was the original Arthur (pp 14-39)?

I suspect the people who need to read it probably won’t. And if they do, it probably won’t change their minds[xii]. The growing cult of the self-appointed expert means there is an increasing number of people who think access to the internet puts them in a position to discover what the experts have missed, and to challenge the experts’ arguments. We’ve seen this in the 2020 pandemic; it’s not confined to Arthurian studies.

For experts in the field, they’ve heard most of it before. They’ve read some of it in Higham’s earlier work, especially King Arthur: Myth making and History (Routledge, 2002). I suspect there will be those with recognized expertise in some of the more unusual fields that he has picked his way through who might object to the finer points in some of his arguments, but most of us won’t be in a position to follow the ensuing discussion, let alone play referee.

Those who don’t have the patience to read the book will stay happily deluded. Anyone who honestly thinks Arthur was an Ancient Greek Constellation before he had a career as a medieval king is not going to let the problems of transmission get in the way. Worse, as a contributing factor, there’s someone out there willing to publish your theory, or turn it into a documentary, because people like to watch the little amateur sticking it to the experts, even when the audience has no idea what’s at stake. It’s hard not to love a story that declares the Holy Grail has been discovered in an attic in Coventry, or Excalibur has been found[xiii]. Throw in the idea that there’s an academic conspiracy to hide the truth and there’s a small industry aimed at exploiting those who want to believe. Detailed arguments about manuscript dating, linguistic borrowings, or the problems of editing and dating early Welsh poetry simply do not make great television even if they are being presented by Michael Wood.

While the arguments over the historical Arthur are fascinating for all kinds of reasons, for many who are interested in the stories that accumulated around the name, it has always seemed an interesting irrelevance. Even if it were possible to identify a single person as the point of origin for all these disparate stories, and even if the proof were so convincing Higham publicly retracted everything he’s written here, ‘Arthur’ would be a brutal thug whose claim to fame was his ability to organize the slaughter of other violent thugs. He would have nothing in common with Malory’s Arthur except, perhaps, a shared name.

Acknowledgements

My thanks to those who read early versions of this essay, and in particular to Peter Hart whose painstaking proofreading saved me from serious embarrassment. All the remaining errors are mine

Works Cited

Adams, M (2015) In the Land of the Giants. Head of Zeus Ltd

Alcock, L (1971) Arthur’s Britain. Harmondsworth, Penguin Books

Dumville, D (1977)  ‘Sub-Roman Britain-History and legend’. History 62:173-92

Halsall, G (2013) Worlds of Arthur: Facts and Fictions of the Dark Ages. Oxford University Press

Hanning, R W (1966) The Vision of History in Early Britain. Columbia University Press

Morris, J (1973) The Age of Arthur. Weidenfield and Nicholson

Morris, J (ed.)  (1980) Nennius – British History and The Welsh Annals. Philimore & Co

Author’s Notes

  1. Despite the comprehensive mauling it received from the experts, Morris’ The Age of Arthur is still on sale, and if the comments on Goodreads are any indication, still encouraging the unwary to believe

2. Gildas The Ruin of Britain. (De Excidio et conquestu Britanniae)

3. Ironically, Higham’s book denies the ‘Historical’ status of everything Adams refers to here

4. The entry before the one for Badon reads: ‘Bishop Edur rests in Christ [i.e dies] he was 350 years old.’ It tends not to be quoted by those who want to believe in the reference to Badon. Higham’s discussion of the Annales is on pp. 222-225. They are included in Morris’ edition of Nennius

5. See Higham p. 178-9 for a discussion of the problems of ‘establishing the text’ in general and with Morris’ edition in particular

6. It’s typical of the HB that in chapter 41 the boy has no known father and in chapter 42 he does

7. The HB faithfully records that there are three stories circulating about Vortigern’s death, one of which involves the ground opening up to swallow him.

8. My own interest is in the way these stories developed, rather than any desire to sort fact from fiction. You can read about the development of Vortigern’s story across time, as well as those of Hengist’s daughter and St Germanus at: http://www.liamguilar.com/the-legendary-history

9. I once pointed this out and was told that Arthur would have been using Excalibur and ‘we all know’ Excalibur was an alien artefact

10. I thought this phrase was Peter Barry’s, from Literature in Context (Manchester University Press, 2012) but I can’t find it

11. http://www.grahamphillips.net/arthur_tomb/arthur_tomb1.htm

12. The repeated use of  ‘probably’ here is nothing more than a conventional stylistic avoidance of declarative statements in an attempt to appear undogmatic. If I were a betting man, I’d bet they won’t.

13. Amateur Sleuth traces ‘Holy Grail’. The Courier Mail, August 14, 1995 p.12

Shores, stars…and unmade beds

Bethesda Constellations, Peter Hughes, Oystercatcher Press, 2020 28 pages

The Celestial Set-Up, Zoë Skoulding, Oystercatcher Press, 2020, 24 pages

LIAM GUILAR combs through two new poetry pamphlets

Oystercatcher Press is one of the many small presses keeping poetry alive and well and providing readers with the opportunity to sample a writer’s work for a relatively small cost. Both these pamphlets are by poets with substantial back catalogues. 

Peter Hughes’ Bethesda Constellations contains three short sequences of that name, samples from two works in progress, and some individual poems.

The three Bethesda Constellations provide mini-galaxies of images:

the rain in all these 
seaside Brexit towns 
goes into the night 
a single taxi 
never moving 
from the station.

The stand-alone images collaborate to evoke place, but also a range of moods from the serious to the whimsical.

The other poems range from these sparkling details to pieces that tetter on the edge of what C.S. Lewis called ‘Privatism’; the feeling you get as a reader that you’re overhearing one side of a conversation about a party you weren’t invited to and know nothing about. Often this can occur in individual poems. ‘re;lode26’   starts  in specific kitchen details, not just garlic but “& four fat cloves/ of this year’s garlic” to:

I saw you stick 
a mini octopus 
on the front 
of your SG 
which served 
as temporary amp 
& living strumbuddy

It’s difficult so know what that means, or what the context is that would give it meaning. The three ‘Re:lode’ poems are part of an ongoing collaboration, and therefore taken out of their own contexts, though Re:lode30  with its seamless integration of song, local history and imperialism is one of the most enjoyable pieces in the pamphlet.

Such moments as the one quoted above are fortunately rare. On rereading, the movement away or towards the particular within a poem creates a feeling of exhilarating movement, as though you’re a passenger in a vehicle taking a blind bend at speed. This is particular true of the shorter pieces, like ‘Ant’ or ‘Choir’, which begins:

an amateur choir 
is filling the hall 
with love songs 
on the last day of September

and proceeds to

rumours & a heart of gold 
shuffle back onto the street 
& on beyond the street light.

Zoë Skoulding’s The Celestial Set-Up seems to invite a different reading practice. ‘Why are you telling me this?’ seems the valid question. 

The elusive Rosa Luxemburg

 ‘A Rose for Rosa’ opens the pamphlet. It begins,

This is not the grave of rosa luxemburg she is not here you will not find her neither will you find her at the memorial to rosa Luxemburg at the lichenstein bridge… 

and so on for 29 lines of unpunctuated prose, in which variations on ‘she isn’t there’ and ‘you won’t find her’ link any number of statues, monuments, streets, buildings or institutes named after Rosa Luxemburg.

Many of the poems like this one feel like writing exercises. ‘The Bed’ begins:

Our bed was never made from a still-rooted olive 
Our bed was never planed with a brazen adze

with its nod to ‘The Odyssey’ but then continues for another 26 lines each beginning ‘Our bed was…’

As a writing exercise encouraging students to consider metaphors and how they work, this might be fairly common, but the end result is a list that is rarely interesting for a stranger who doesn’t know who the first-person plural refers to and can’t make the plethora of images cohere and say something of interest about ‘us’ or ‘the bed’.

For much of this collection I was left wondering if my presence as a reader was essential or even if it had been considered as part of the process.

‘Displacement Fixing by Steerage’ sounds like a parody of officialise, but since I haven’t read the document in question, I’m left wondering what I’m supposed to do with lines like this:

No matter from what point of ebb’s northern hindrance you look at it, it’s always within one delivery of true note

The same is true of ‘A Divinatory Calendar’, a sequence of 13 five-line poems. They are verbally inventive, but phrases like “Get to the point just when it dissolves like salt in drizzle bristling the skin” or “The habits of highly productive people include lying down at the crossroads covered in ash” had an initial attraction that didn’t survive too much consideration.

‘A Strait Story’ is neither a story about the Menai Strait or a straight story about a boat trip. Something happened in the Strait, but the facts and the writer’s response to them are presented in a baffling way that suggests both are an opportunity for a bit of writing rather than a desire to engage the reader with the experience.

The piece is divided into prose paragraphs and short passages set out as poems. This could be a nod to earlier Celtic genres where the prose conveyed the narrative and the lyric was used for speeches or moments of intensity. But there’s little narrative, and of the four ‘lyrics’ two are simply lists that have gained little by being written out in verse.

Despite the invention of the internet and the explosion of opportunities for publishing and reading poems, pamphlets still play an essential role in the circulation of poetry. For many poets, their first collection still takes the form of pamphlet or chapbook. For the more established, pamphlets offer a wide variety of possibilities: the chance to try out new work and see what kind of reaction it receives, or to use as a calling card.

For the curious reader, pamphlets offer a cheap way of reading a lot of different poetry and sifting the cacophony of unfamiliar names and vaguely familiar claims. For a relatively small cost – these two cost five pounds each – you can dip into a poet’s work, spend some time with it, and decide if you think the poet’s publication list is worth pursuing. You, reader, should buy some pamphlets.

Scenes from a closely-observed life

Still Life, Ciaran Carson, Wake Forest University Press, 2019, 88 pages

LIAM GUILAR relishes – and mourns – a unique talent

There’s a picture of Ciaran Carson on the back cover of Still Life. He’s sitting on a bench seat. Tall buildings, trees and streetlights provide a diminishing perspective taking the eye towards an approaching bus. The bus is slightly out of focus. There’s something, perhaps someone on a bike, in front of it.

Ciaran Carson

The word dapper presents itself to describe the poet. Hat, blazer, tie, the refinement of a white handkerchief in the breast pocket. The facial expression is harder to read. Perhaps a hint of a mischievous smile? Perhaps Puckish is an appropriate description?

In a book of poems about pictures, this one seems carefully composed. Perhaps you know the story. You walk into the woods and meet a well-dressed man on a path you didn’t mean to take. He’s usually sitting on a log, or a style. If you share something with him, you’ll be rewarded with a story, though the story might take up several lifetimes and when you return to where you started, you’ll find the world has changed.

There’s an inviting space beside Carson on that bench. I would offer him the OED’s etymology of dapper, which I think he would enjoy. It suggests dapper was adopted at the end of the ME period “with modification of sense, perh ironical or humorous” since in Middle Dutch it meant “powerful, strong, stout, energetic”, which might be superfluous to requirement, as the saying goes. Modern Dutch gives “valiant, brave and bold”, and they don’t seem appropriate either.

I want to thank him for Last Night’s Fun: In and Out of Time with Irish Music, one of my favourite books, For All We Know, one of the most interesting of poetic narratives, and for the pleasure of all the other poems, translations and the weird and wonderful prose.

But he’s dead.

The first poem in the book concludes:

It’s beautiful weather, the 30th of March, and tomorrow the clocks go forward.
How strange it is to be lying here listening to whatever it is is going on.
The days are getting longer now, however many of them I have left
And the pencil I am writing this with, old as it is, will easily outlast their end

Carson died in October 2019. Still Life was published posthumously that November. It’s inevitable that those two facts colour any response to the book. They don’t need to. The book doesn’t need your sympathy.

On a first reading the poems seem colloquial, easy to read, informative, with moments of arresting imagery –

My dreams are filled with wavering buildings, avalanches of astonished / glass

In characteristically long lines, with their deceptive appearance of artlessness, each poem is a reflection on a picture, which provides the poem’s title. ‘Reflection’ is inadequate because the colour and detail in each painting is a focal point, not always the beginning or end:

Because when looking at a thing we often drift into a memory of something else / however tenuous the link

But ‘reflection’ is also apt, because the pictures become distorted mirrors which reflect the observer’s life and pre-occupations. Each viewing is a reviewing, no matter how familiar he thought the picture was. The silent present ‘you’ – often Carson’s wife, Dierdre – notices things he hasn’t. Things unnoticed re-present themselves, and perception and memory shuffle the elements into new versions of the picture. A Carson poem is typically not a hermetic object, which I think is one of the reasons he was a fascinating writer. An intelligence was moving through time and space and recording the process.

The last poem ends:

And I loved the buzz of the one-bar electric heater as a bus or truck passed by
And I loved the big windows and whatever I could see through them, be it cloudy or clear
And the way they trembled and thrilled to the sound of the world beyond

The key phrases here are ‘whatever I could see’ and ‘the world beyond’.

There is no ‘high and low culture’, no misplaced sense that some things aren’t ‘appropriate’ subjects for poetry. The verbal registers move from colloquial to technical. Wittgenstein may be quoted, but he’s just as much at home as the small pot of daffodils broken by an idiot vandal, or the memory of “blue birds anticlockwise spiralling around the interior of the toilet bowl” (p. 84).

Carson once described a traditional music session:

Every tune recalls other circumstances in which it has been played; and the conversations and anecdotes sparked off by the tunes are essential to a good session. It’s a mix of tunes, songs, stories, drinking, eating – whatever happens to be going on, including smoking in the days when you could smoke in bars (1)

Think of each poem not as a single tune but a recording of the whole session. It’s an astonishing achievement, and he sounds like no one else:

I’d just found the book I had in mind –What Painting is by James Elkin
When the vandal struck. Thud. What the…? The gate clanged. I looked out
The bay window to see a figure scarpering off down the street to the interface – 
What a book though. I have it before me, open at this colour plate, jotting notes 
Into a jotter, which I’ll work up later into what you’re reading now 

The poet doesn’t live in self-imposed exile on Parnassus, occasionally sending his effusions to the plebs below. Street names map a real Belfast and anchor him into the daylight world. You can reconstruct his daily walk which is recorded in many of the poems as possibilities on a map. Google maps and virtual art galleries, acts of minor vandalism, the insertion of a drip into the arm, a cat eating a bird, all find their way into the poems. Memory skips backwards, to bomb blasts, early attempts at writing, school days. A concern with the mechanics of writing is always present: the pen he’s using, the breaking of a pencil, memories of a typewriter, words and their possibilities. Sounds too are included, like the phone and the doorbell, the postman interrupting him while writing, but unlike that person from Porlock, the interruptions kick the poem onward.

However, although the poems are separately titled, this is a sequence; the intelligence and craft are in the architecture and that may not be immediately obvious on a first reading. The poems pick up, echo and alter words, phrases, and images. The more you look for the links, the more there are.

As a single example, which doesn’t exhaust its own possibilities, the sixth poem in the sequence is “Nicholas Poussin, Landscape with a Calm 1650-1651”. Although this is the first of three paintings by Poussin to be used as a title, the artist appeared in the first poem, where his habit of reaching among Roman ruins for a handful of marble and porphyry chips and saying to a tourist, ‘Here’s ancient Rome’ stands at the beginning of the book as shorthand for Carson’s method.

The sixth poem also refers explicitly to the second poem, “Angela Hackett, Lemons on a Moorish Plate 2013”, in which, “a fortnight ago” Carson had placed a blackbird to sing from a blackthorn “for the sake of assonance”. He’s driven to look up the difference between blackthorn and hawthorn (which also evokes the tune “The Blackbird”).

But the poem also sets up what comes afterwards. Carson records his daily walk and for the first time mentions Number 1 Hopewell Avenue, “a beautiful house back then”, now a building site. The construction work here will become one of the markers of time passing as subsequent visits in later poems will record the developments on the site. “We” remember the goldfinch “you saw” “two years ago” and so on and so forth…You can pick up a phrase, a word or a detail and watch it move through the poems, threading them together.

The most obvious link is the movement of time, which is not straightforward. Time moves forward as an accumulation of present moments, some dated, some sequenced by incidents. Time moves backwards to memory, some also dated. What is most obviously missing are references to the future.

Time is also built into the complicated game Carson plays with the idea of the poem as a record of its own performance. The pictures might look like time frozen, but the poems often create the impression of a performance in progress, unfolding.

Perhaps the most intriguing aspect of the book, given the context, is that these poems manage to escape categories like Personal, Autobiographical or Confessional. Just as a Carson poem can challenge your idea of what a poem is and does, these labels are called into question because the poems are paradoxically none of them, and all of them. It’s easy to imagine someone else in this situation, not knowing if they were going to live, writing self-indulgent or embarrassingly personal poems. But here a craftsman is taking pleasure in his craft and inviting the reader to share his enjoyment.

Like the encounter with the man in the story, once you start paying attention, it’s hard to escape. The book invites rereading. Those possible etymologies of dapper which seemed initially inappropriate are perhaps apt after all: the poems are indeed “powerful, strong, energetic”, “valiant, brave and bold”.

Notes

  1. Elmer Kennedy-Andrews (ed), Ciaran Carson, Critical Essays, Four Courts Press, 2009