The long road between London and Rome

Faith of our Fathers

Joseph Pearce, San Francisco: Ignatius Press, 2022, 384pp., pb, £16.36

WILLIAM McIVOR is irreligious, but finds much to admire in an account of English Catholicism

Nobody can accuse Joseph Pearce of lacking ambition. Faith of Our Fathers attempts a history of Catholicism in England, and the cultural and social impact of the Church, from the earliest times to the present day. So immense a subject could fill a score of worthily turgid tomes, but this is a fleet-of-foot single-volume study that dances across almost 2,000 years of English history, giving tantalising glimpses, and a surprising amount of detail, into its subject matter. It will surely inspire readers to investigate further those historical periods, or cultural, social and philosophical areas, they find of most interest.

The author is a practicing Catholic, edits a well-known Catholic literary and cultural magazine, the St Austin Review, has written a number of well-received volumes about Catholic literary figures, and the Ignatius Press is a Catholic publishing house. Readers will not be surprised, therefore, to find that Faith of our Fathers is written from a joyfully enthusiastic Catholic standpoint.  As an equally joyful and enthusiastic atheist, this reviewer is not put off by such a fact – better this than tediously ‘unbiased’, dispassionate, indeed passionless, writing – but readers should be aware this history could have been written from other standpoints.

Faith of our Fathers covers three distinct epochs in England’s religious history: ‘Merrie England’ from the legend of Joseph of Arimathea to the coming of the Tudors – secondly, under Henry the Eighth the horrific persecution of the Catholic faith, that continued for nearly 300 years – and finally, as attitudes changed from the late eighteenth century onwards, the rebirth of the Church alongside a cultural blossoming brought about, at least in part, by a growing number of Catholic literary converts.

The earliest stages of ‘Catholic England’ date from the first century, with the supposed coming of Joseph of Arimathea. As Mr Pearce notes, it can be difficult, if not downright impossible, to distinguish myth from history in these early centuries, before England was indeed England, following the Anglo-Saxon incursions into previously Celtic lands. He argues, however, that what was significant is the fact that the myths were believed  – because the populace wanted to believe them, thus indicating a natural affinity between the mindset of the ‘proto-English’ and early Church teachings. This is, I believe, an important truth.

It is a curious fact that religions often migrate from their original point of origin. Broadly, Christianity shifted from the ‘Holy Lands’ into Europe. Islam moved westwards from the Arabian peninsula to the Arabs lands north of the Sahara, but not significantly into the lands to the south. Buddhism originated in India but made most progress in East and South-East Asia, leaving Hinduism dominant in Siddhartha Gautama’s homeland. Doubtless there are many reasons for these phenomena, but I would suggest that there is one major factor at work. The differing religions have their own distinct characteristics, differing greatly in what they preach and how they preach it. The various peoples on this planet also have greatly differing desires, as regards what they seek in a religion. Like plants which are found growing on the soil that best suits their needs, creeds take root among the peoples that most appreciate them and their values. That the early Church took root so readily in early England tells us much about both the early Church, and the early English.

The first part of Faith of our Fathers is uniformly interesting, but it is when we come to the second part that Pearce’s passion for his subject really shines through. The story of how Henry VIII fell out with the Pope, dissolved the monasteries, declared himself head of the Church in England and commenced the persecution of Catholics is well known, but the author’s passionate abhorrence of these events brings them vividly to life.      

Henry’s dissolution of the monasteries has considerable resonance for today’s world: wise leaders do not lightly get involved in wars, because of the ‘Law of Unintended Consequences’. Henry did not declare war on another country, but he effectively declared war on the Church and sought to win over nobles by bribing them with stolen Church land and property. The consequence was that said nobles gained greatly in wealth, and hence power, relative to Henry  ̶  surely not what he planned. There is an obvious parallel today: Vladimir Putin’s desire to unite ‘All the Russias’ was not inherently an ignoble idea, but the method chosen, the military invasion of Ukraine, has had the unintended consequence of creating an anti-Russian sentiment in Ukraine that will last for decades, if not centuries.

Henry was, in due course, followed by the Catholic Queen Mary, or ‘Bloody Mary’, as Protestant Whig historians dubbed her. Pearce acknowledges that atrocities continued under her reign, this time against Protestants.  However, he points out that all the atrocities the medieval mind was capable of devising – hanging, drawing and quartering, burning at the stake, racking, flogging, etc – were enthusiastically carried out by Elizabeth against Catholics, to an extent that made Mary took like a novice in the atrocity stakes. For example, following the Northern Rebellion against her rule, a merciless Elizabeth had some 800 Catholics hung, without trial. This led Pope Leo V to excommunicate Elizabeth from the Catholic Church. It is beyond my comprehension why this should have irked the Protestant Elizabeth, but irked she clearly was: anti-Catholic laws were then enacted which, by the time of Elizabeth’s death had led to the execution of 189 people, including 126 priests, who were found guilty merely of practicing the Catholic faith. At least they had a trial before their execution – so that’s all right then…

The Jesuit Fr. Edmund Campion, martyred in 1581

Other events during Elizabeth’s reign also illustrate the Law of Unintended Consequences at work. As Pearce points out, at the time of the Spanish Armada, Catholics were still, despite all persecution, likely a majority in England. Philip of Spain doubtless thought of his ‘special military operation’ (where have I heard that expression recently?) as liberating that majority from tyranny. Apart from the fact that the Armada was a naval disaster, it also meant that Elizabethan spin-doctors could portray it as a great patriotic triumph: a major foreign power had been prevented from invading England, thanks to gallant Protestant defenders. The further persecution of ‘traitorous’ Catholics could then be justified.

For almost 200 years after Elizabeth’s death, Catholics continued to be persecuted, until by the early eighteenth century there were no monasteries, convents, public places of worship, and fewer than 100,000 adherents, where once there had been millions. It makes for grim reading: one is left with the unpleasant feeling that the message – obviously unintended – of this section of Faith of our Fathers may be that brutal persecution simply works.

As said before, this reviewer is not a religiously minded person. Nonetheless it was with some relief that I came to the third section of Faith – detailing the ending of Catholic persecution, starting with the first Catholic Relief Act in 1778, which led eventually to the 1829 Catholic Emancipation Act.

The nineteenth century saw a growing realisation of the bias of ‘Protestant history’. Pearce gives an interesting example: the fifteen-year-old Jane Austen who, “wrote her own ‘History of England’ which lampooned and satirized the anti-Catholic stance of conventional history books.”  As Pearce puts it, “In supporting Mary Stuart against the anti-Catholic Tudors the young Miss Austen was countering the pride and prejudice of her times and was exhibiting the sense and sensibility that would make her one of the finest and most perceptive novelists of the following century.”

The author argues that, as the nineteenth century advanced the Church started to experience ‘a second spring’, both culturally and theologically. He gives two exemplars: Augustus Pugin who designed the Houses of Parliament in a neo-Gothic style, and John Henry Newman, a major Anglican theologian and lodestar of the Tractarian Movement, whose conversion to Rome in 1845 caused shockwaves to run through the established church.

It is when we come to the late nineteenth and twentieth centuries that we find Pearce on his ‘home ground’ as it were. (And I am not referring to his beloved Stamford Bridge!) Pearce’s first major work was Literary Converts, his account of a number of prominent authors, whose conversion to Catholicism greatly enhanced the standing of the Church in the literary world.  To what extent their conversion enhanced these authors’ contribution to English literature depends on their readers’ sensibilities; readers of this review can form their own conclusions.  However, their conversions undoubtedly greatly enhanced the standing of the Church in the literary world. Pearce is now well-known for his later biographies of numerous Christian literary figures, including Tolkien, Chesterton, Belloc and Solzhenitsyn.

The prominence of literary Catholics was one of the factors behind the growth of the Church, to the extent that Pearce can now confidently assert that the Catholic Church attracts more regular adherents than the moribund Anglican Church. A major reason for this, he argues, is that the Catholic Church has largely stayed true to its own eternal values, whilst Anglicanism has sought to find favour with ‘modernists’ by fawning on every passing fad, both religious and secular. It is here that I might venture a small criticism: ask a thousand people what they understand by the term ‘modernism’ and I suspect you will get a thousand different answers. We can make a reasonable guess what it means to Joseph Pearce, but for the avoidance of doubt it would have been helpful if he could have defined exactly what he means by the term.

One of the haunting memories left after reading Faith of our Fathers is the extent to which some people in medieval times – laity as well as clergy – faced the most agonising and degrading deaths, which they could have avoided by renouncing and denouncing their beliefs. Instead, they preferred to suffer the torments of the rack or stake. One is left to wonder what our present-day leaders – religious or secular – would do if faced with such deaths. Would they hold true to their beliefs?

This inevitably leads to another sobering thought: what would I, what would you do in their place? It has been this reviewer’s pleasure to have known Joseph Pearce for over 40 years. In that time, I have seen him stand up to threats, including that of imprisonment, that would have broken many others. He is of course human, so I do not know for certain how he would react if he ever felt his joints dislocating and his tendons snapping on the rack, as was the Elizabethan practice. But this I can say with certainty: of all the people I have ever met he is the person most likely to hold fast to his faith, regardless of the cost. His very personal journey equips him admirably to understand the doubts, fears and sufferings of all those over the centuries who sought to stay true to the faith of their fathers.

Transporting music

Image: On the South Downs Way. Malcolm Oakley. Wikimedia Commons
RICHARD DOVE savours the sounds of Ed Hughes and Airat Ichmouratov

On a couple of occasions, I have cycled across the South Downs, and even managed (once) the slow climb up Ditchling Beacon. I should have had Ed Hughes’ music to accompany me. It would have made a wonderful bike ride even more special. 

His Music for the South Downs is a recent release on the Metier label and part funded, in a most enlightened way, by the South Downs National Park Authority. The music embraces the rolling landscape and its endless natural variety.  We can be in open fields and wooded valleys, beside fresh bright streams and rolling waves. The music is both evocative and grounded in this verdant environment. Listening to Flint Movement 2 on a dull and rainy afternoon, I was transported to a forest watching the sunbeams dance through the leaves – and then in the next movement I am on the bank of a fast-flowing stream. Such is the magical power of Ed Hughes’ music. 

It was composed for Sam Moore’s film, South Downs: A Celebration, to mark the National Park’s tenth anniversary, and is played by the New Music Players, founded by Hughes and the Primrose Piano Quartet. Ed is professor of composition at the University of Sussex and is very obviously steeped in the South Downs landscape. He has walked the paths that he now portrays in this music. I will ensure that Hughes’ music is with me when I next tackle the South Downs trails.  He might even encourage me to ascend effortlessly up Ditchling Beacon. And that takes some doing.

On a first listen to Airat Ichmouratov’s Piano Concerto (a recent release on Chandos) I could not get Tchaikovsky out of my mind. He is clearly an influence on Ichmouratov. The notes to the CD underline my first impression in a description of piano, woodwinds and glockenspiel engaging in a Tchaikovskian exchange of scurrying semiquavers. Indeed, the use of percussion throughout the work to punctuate, embellish and encourage is consistently surprising.

In the Viola Concerto, also on the CD, Ichmouratov brings in tubular bells to build the rousing climax before closing with the melancholic tones of a clarinet. Both works are masterfully played by the London Symphony Orchestra conducted by the composer. Ichmouratov is guided by tonality and romantic traditions in his exuberant music coupled with a very original sense of drama. The soloist in the Viola concerto No 1 is Elvira Misbakhova who wanted something new and challenging for her doctoral performance at the University of Montreal.  She certainly got it. 

For the Piano concerto, Jean-Philippe Sylvestre is the soloist and it needs all the energy of this “poet of the piano” (as described by conductor Yannick Nezet-Seguin) to take on this demanding Concerto where the piano is rarely silent for more than a few bars. In the words of Airat Ichmouratov: “When I compose I hear a certain tonality and simply follow what I hear.  Sometimes I end up with surprising key relations.” Quite true and well worth an absorbing listen.   

A Man of Heart – Chapter 11: Things Fall Apart

LIAM GUILAR is Poetry Editor of The Brazen Head, and the author of several poetry collections including Lady Godiva and Me, From Rough Spun to Close Weave and, most recently, A Man of Heart

This is the last installment of the story of Vortigern. Chapter two onwards can be read on the Brazen Head site. Chapters One and Twelve appeared in Long Poem Magazine. The full story is published by Shearsman UK as A Man of Heart

The story so far. Fifth Century Britain. The legions have gone, leaving the Britons to fend for themselves.  Despite his success in uniting the province and bringing peace, Vortigern’s sons have led a rebellion against him. He now faces three problems: the remnants of his sons’ rebellion, the return of Aurelius and Uther, sons of the deposed King, and Hengist who wants revenge for his brother’s death during the rebellion.

Things Fall Apart

1

In the midnight forest,

in the moonstained tower.

the princess stares towards the morning

while her sleeping lord

dreams of a desperate hunt,

racing, branch whipped,

though the trees. His dogs,

white coats shining, red ears shining,

howling after a milk white stag.

The stag is walking, unconcerned, 

and his sweating horse

cannot close the distance.


Could you feel the moonlight on your skin?

She wanders the circuit of the room,

orbiting the bed, watching the sleeper

twitch, hearing him mutter orders

to the slavering pack

who pay him no attention.


Inside the winter forest of his dream,

the bored stag stops beside the river,

and turns to face the dogs

who cower from his indifference.

He’s standing on the river wall,

with London burning at his back.

The mighty silver river turned to silt.

The child with golden eyes

emerging from the smoke and shadows

holds the coin he’s worn around his neck

since he found it in the mud.


‘I know what lies beyond the ninth wave,’

says the child, ‘I know the age of the wind.

I know why Gwydion sang an eagle from an oak.

Why Math wouldn’t sell his mouse…’

on and on as the child grew older,

the mountains rising, like an insult,

to cut the road that fades into the fields,

the road to Lincoln, overgrown, baffled

by vertical grey stone veined by snow,

barriers of rock and ice blocking the horizon.

He is laughing at the boy, who hasn’t stopped.

‘Do you know why the gods allow humans to suffer?

Why wise men fail and fools succeed?

Why good men die and bad ones prosper?’

‘No,’ said the boy, flicking the coin

so it drifted like an ember in the smoke.

‘I do ,‘ he says, as they watch it settle in the silt

and the dirty waters swirl and cover it.


He wakes, feeling for the coin,

reassured, but it’s a dream within a dream.

‘You did come back?’ ‘Oh foolish man’

she says, ’when will you ever learn?’

He turns to the golden boy.

‘Because there are no gods,

only Fortune and her wheel

and she’s a brutal mistress

destroying all she favours.’

2

All winter Saxons from Thongcaester

and loyal northern tribes

had raided south, while Vortigern

from his own estates,

coordinating every detail,

had harried from the west,

‘til Vortimer’s writ no longer ran

north of Watling street or west of Dere.

They’d kept him bottled up and shaken,

watching his following dissolve.


The plan had been to wait ‘til spring

and then with Hengist sweep him off the map.

Yesterday the news. Keeping his promise,

Hengist had returned and landed fifty ships,

and then the twist: on the southern coast.

Hearing Gloucester had retreated to his own lands,

Hengist’s army was rampaging north and west,

undisciplined, voracious, hunting British heads,

like the Pictish horde that he’d been hired to stop[i].


There was death and destruction

to rival Boudica’s march on London.

Some of Vortigern’s supporters

had been mauled, their lands ransacked.

Another fleet led by Hengist’s sons,

had landed in the north

between the stone wall and the turf.


The Britons had sent a cautious embassy:

‘Your son, my lord is dead.’

‘My son died to me the day that he rebelled.’

He says the words again,

in private, surprised to find

wispy echoes drifting over nothing.

A dull sense of relief?

He will not humiliate his eldest son

destroying the rabble

he could not lead,

nor order his execution

after his inevitable defeat.

Their story is he killed himself,

playing the defeated Roman.

3

The ambassadors shuffle and fidget.

They won’t look him in the eye.

They say ‘He measures us for burial.’

‘Tell Gloucester if he comes to me,

and will submit, I will forgive him.’

It’s not the answer they expected.

They would have served him Adolf

on a golden platter,

stuffed and garnished to his taste.


‘As for the other matter,

I will reply tomorrow morning.

Until then, go, you are messengers,

you are safe, enjoy our hospitality.

Congratulations, gentlemen.

Tell your masters, when you return,

their folly has undone our wisdom.’

4

In the circular room,

at the top of their tower,

he curls against her

watching the rough-hewn stones

liquid in the fire’s light.


The way she moved could turn his world to water.

That nameless place where neck and shoulder meet.

This bewildering encounter with intelligence and affection.

Everything changes, nothing stays the same.

Unless you’re Vortigern the King?


Moonlight picking out a patch of floor.


We were sunlight dancing on water,

dazzling and scattered,

now gathered, still,

carried on a darker

gentle current.


The world can be forgotten.

He could drift along beside her.


But the day will have its answers.


‘If I accept their offer,

become again the ruler

of this fractured,

fractious province,

your father and I

must go to war

as enemies.’


‘How many times?

Your friends are my friends;

your enemies are mine.’

‘We don’t have the numbers

to stand against the force he’s raised.’


‘Adolf has an army.’


‘Adolf’s mob of whining British lords

will be fighting over precedent and office

after Hengist’s warriors strip their corpses

and leave them on the battlefield to rot.’


‘We have allies. They’ve stood by us all winter.

Why would they desert you now?’


‘Fear and Economics.

Fifty ships, a thousand men,

that rabble doesn’t care

for Hengist’s oath.

Without a commissariat,

he can’t feed a horde that size.

They’ll plunder every village

and estate and town

that’s on their route.


No one dares come south

with your brothers

camped between the walls.

Your father rides a tidal wave.

He can point it at his enemy

but it won’t discriminate

between the British lords

who joined in the revolt

and those who fought against it.’


The patch of moonlight fades.


‘He told me a story about your uncle.

Caught in a monster storm,

he turned his ship and surfed

straight down a wave face

three times higher than his mast.’


‘That sounds like him,

howling jubilant defiance at his Gods.’


‘His ship was overwhelmed.

The crew were drowned.

Your uncle swam ashore.

Hengist will crash into Gloucester and his army

and bury them. But The Boys have landed

and there will be a mighty showdown.’

5

Wylaf wers, tawaf wedy[ii]

She finds him on the roof,

staring towards the east.


‘They’re coming like the sunrise,

like a wave bearing down on a straw hut.

We have a month at most.’


Whatever he is trying to say,

she will not help him.

She watches night shapes

assume their daylight forms.

Waiting, knowing

there is cruelty in her silence.


He will not look at her.

‘Go to your father.

He will keep you safe.‘


In a hut ringed with body parts.[iii]


‘Hengist will trade me to the necessary ally.

Slightly soiled, one previous owner,

still worth fifty ships.

I will not become a sex toy for Aurelius.’


‘If you stay; you die.’


‘And you will play the Roman and fall upon your sword,

be Stilicho and go so quietly for the greater good,

dignified and honest in an age devoid of both?’


‘Hush lady…’


‘No. I will not hush!


I will not weep and then be silent!

I will not be the loyal wife

proudly watching as her man

acts with atypical stupidity.


What possible profit is there in your death?

Do you think they’ll tell your story straight after you’re dead?

They cannot, will not, do it when you’re still alive.

What does it matter what they think about you in a thousand years?

If bookish men still scrutinize your life, searching for the truth,

they will not find it. We will be figures dancing

on the limits of their comprehension,

simplified for story’s sake.’


She gestured to the hilltops to the west.

‘Who would bother chasing us?

There will be a place to raise this child.

We can carve ourselves a kingdom,

and if defeat becomes a fact

when there is no escape…’


A golden ampule in her palm.


‘There is enough for two.

We go to sleep: we don’t wake up.’


‘How do you know it works?’


‘Old Mother Gothel gave it to me,

before I sailed for Britain.

I made her prove that it was painless and effective.’


‘Who was Mother Gothel?’


‘You never met her:

she was honest.’


‘We will need bodies.

At least one must be a woman’s.’


‘There is a village in the next valley.

They have not offered us their help.

Anyone we cannot trust must die.’


‘Better dead friends than live enemies?’


‘For now.’

6

Ewch nawr[iv]

‘Go now,’ she said, ‘I set you free.

Go find my father, tell our story,

tell it straight.’ Keredic objects:

‘No lady, I have come this far

and I will stay with you.’


‘Do as I tell you, nithing.

It would sadden me to have you killed.

We cannot hold against an army.

But we will die facing our enemies.

We have been good to you.

Now go!’

7

For the ashes of your fathers, and the temples of whose gods?[v]

Dark rider on the riverbank at dusk;
he can smell how cold the water is,
listening to it hurry past,
a pale stain between the overhanging trees.
A stale moon behind sick clouds.
The flickering army on the other bank,
dead ancestors, mustering against his crossing.


Muttering: Duty, Loyalty, Reputation.


Go forward or go back? Dame Fortune
cranked her wheel to bring him here.


Tell me then,

what purpose does my death serve

at this point in the story?

I have been loyal to my oath of service,

faithful to all that made you great

when those I served were not deserving.


I have done everything I could

as well as I knew how.

Been honest in my dealings

held my office without guilt

I’ve done my duty.

held the line you drew

and seen the selfish,

the short-sighted

and the stupid destroy

everything you built.’


The massed ranks shift and mutter:

Loyalty, Honour, Duty.

8

The Boys

It takes time to land an army.

Mercenaries mostly, survivors of Chalons,[vi]

who fought beside Attila or against him.

Within the walls of Porchester,

in the clattering busyness, the rattle of voices,

the scurry of patrols, the interruptions of messengers,

the herding of the necessary horses,

The Boys wait for the British lords to come in;

for Gloucester and the army he has promised;

for loyal Britons to welcome their return

and for those who find their names on the wrong list;

dragged away and butchered,

their ragged heads raised on the wall,

staring slack mouthed at a desperate future.  


Trying to eat in the organised riot of the camp

at a long table under an awning, with the banners

the ceremonial armour, the purple cloaks,

the servants and all that is necessary to identify kings

to killers in their pay who wouldn’t recognise their faces.

Aurelius, fastidious with his food, was describing

his latest plan for Vortigern. ‘Of all men,

he is surely the most villainous.[vii]

How he will die I have yet to decide

but it will be slow and painful and terrible to behold.’


He’s got him blinded and castrated, flayed and crucified,

then burning when the news arrives to interrupt the catalogue.


According to Gloucester’s messenger,

Adolf had gone, unarmed, to parley

with the Saxons at the great stone ring.

They had drawn their hidden knives,

slaughtering the British lords. Heroically,

alone, Gloucester, had seized a log from a passing carter

and bludgeoned his way to the safety of his town.


‘The fool attempts Imperial diplomacy:

invite your federates to a feast,

wait ‘til they’re drunk,

then slit their throats?

Out thought. Out fought.

And then he ran.’


‘Talking was his only option.

But now we’re down an army.

We can still pick Hengist off,’

says Uther, ‘If we catch him

before he joins the northern horde.’


While they argue,

a man is bundled towards their table.


‘My Lords.’

He is trying to fold himself into nothing,

to become invisible and inaudible

at the centre of their attention.


‘If you bring bad news,

we will not harm you.’


Uther, who doesn’t lie,

often wonders why his brother is so good at it.


‘Merowch the Frank sends you greeting.

The leader of the scouting party?

The man you taxed to find the traitor?

He says, some of his auxiliaries,

over enthusiastic in their loyalty,

torched the tyrant’s fortress.


Soon there was nothing left.

Just cracked stone and charred bones.

They found the villain and his whore

or what was left of them.


As proof, this ancient coin,

the tyrant wore around his neck.’

The British lords are eager to confirm:

‘He’d take it off and stare at it

while making up his mind.’

‘Do you remember, how, before…’

Aurelius isn’t listening.

‘I want to see this tower.’


‘Hengist first,’ says Uther,

‘the tower can wait.

What is this obsession

with yesterday’s man?’


‘He killed…


‘I know who he killed.

But why hound the man who saved your kingdom.

Alive or dead, he’s now irrelevant.’


‘Because I want to see his charred remains.’

He wants to mutilate the bodies.

He’s spent years imagining his revenge.

But he also trusts his brother’s judgement.

‘What do we do with Gorlois?’


Thought is annihilated.

like a rabbit struck by a plunging hawk.


A dirty unkempt boy.

The ragged stinking fact of him

infecting the moment.


‘Greetings,’ he says

and smiles his dreamy smile,

blinking those golden eyes.


‘I am Merlin.

You need me.’


[i] See chapter four

[ii] I will weep and then be silent. See Chapter One.

[iii] As he does in chapter One

[iv] Go now. See Chapter One.

[v] A misquotation from ‘Horatio at the Bridge’ by Thomas Macaulay.

[vi] A battle between The Western Empire and Attila the Hun involving hundreds of thousands of combatants. Fought in 451, in modern France, a year or two after the traditional date for the landing of Hengist and Horsa’s three ships in Britain.

[vii] This sentence is a direct quote from Geoffrey of Monmouth. I’ve reduced the rest of his speech, which is almost a page long in Thorpe’s translation, to the next two lines.

Prom perfection

Image: Wikimedia Commons
RICHARD DOVE relives a wonderful Last Night

For some it is all about vexillology.  For some the study of the flags being waved defined the evening. For the Daily Mail, the plentiful EU flags were a clear and obvious betrayal of Brexit. But they chose not to notice the quite resplendent union jack blazer on display in a plush box or the St George flag shirt (mine) on display in the stalls.

I had to look up another dominant flag being waved in the hot, sweltering arena. It was the flag of Norway to honour the statuesque mezzo soprano Lise Davidsen. Her voice soared around the Royal Albert Hall as she embraced arias by Wagner, Mascagni and Verdi. She stands tall – indeed, the same height as conductor Marin Alsop even as she is perched on the conductor’s podium. Lise’s dresses (three changes) were wonderfully theatrical and created for her for the evening by Norwegian designer Carejanni.

The programme was diverse, adventurous and traditional. The perfect mix. Max Bruch’s Kol Nidrei was played with great sensitivity by star cellist Sheku Kanneh-Mason, who for one piece took up a solo location in the centre of the arena, giving the ardent Promenaders, many of whom had queued since early that morning, a privileged view.

Marin Alsop in action in 2017. Image: Mastrangelo Reino /A2img. Wikimedia Commons

We had three world premieres with the composers present and spotlighted after the performances – James Wilson’s 1922, Roxanna Panufnik’s Coronation Sanctus and Laura Karpman’s Higher Further Faster Together. You felt the strong guiding hand of Alsop in these choices. She is a pioneer of new music and, as she said in her closing speech, gender equality in classical music. She was even brave enough to mention Aberystwyth as a location of a Proms concert next year. She admitted she had been practicing the pronunciation all day. I imagined the maestro stalking the back rooms of the RAH not with a Verdi score but a guide to Welsh place names. Let’s hope Llanfairpwllgwyngyllgogerychwyrndrobwllllantysiligogogoch puts a bid to host one year. Marin will certainly earn her fee.

It was a party atmosphere but tempered by reverence for the performers. The BBC Symphony Orchestra played their hearts out, and the loudest sustained cheers were for the BBC Singers, once threatened with extinction but now sort of reprieved (we must remain vigilant to keep them a going concern). The BBC Chorus was full of gusto for Jerusalem and Land of Hope and Glory and the concluding Auld Lang Syne when our collective voices drowned out the orchestra. Marin turned to conduct us all as balloons were sent soaring and crackers were set off almost in time to the music. This was a profound, passionate celebration of classical music with the barriers of elitism and traditions dissolved into pure joy.  In one evening we had the soaring wonders of William Walton’s Coronation Te Deum for the coronation of Queen Elizabeth II and the festive and glittering Coronation Sanctus of Roxanna Panufnik composed for King Charles III’s coronation service and the theme from the upcoming film The Marvels by flamboyant US composer Laura Karpman with Marvel Comics celebrating super heroines; very appropriate given Marin Alsop’s absolute control over the proceedings. Super Marin, perhaps.   

Last Night of a distinguished Prommer

MARTIN GODLEMAN witnesses Sir Simon Rattle’s LSO swansong

Sir Simon Rattle. Image: Monika Rittershaus. Wikimedia Commons

I should have had a more pronounced focus on advanced ticket sales of Prom 56 when I casually noticed that Simon Rattle would not only be present at the eight week festival of music, but there to conduct Mahler’s Symphony No.9 [27 August, but available until 9 October on BBC Sounds].

Rattle, himself British-German, was born in Liverpool in 1955, the same year that the International Gustav Mahler Society was established. Needless to say, the concert had sold out almost immediately by the time I had become aware of it. Fortunately, thanks to a generous and industrious benefactor, I managed miraculously to procure a seat for myself just a week before the event.

Mahler, an Austro-Bohemian, actually earned his living at the turn of the 20th century as a conductor of opera, interpreting the stage works of, amongst others, Mozart, Tchaikovsky and Wagner. His was a career that led to his post as director of New York’s Metropolitan Opera. On his days off, most of which he must have spent travelling across the world from concert to concert, he managed to somehow find time to attend to his other passion as a composer, one that brought him little financial success in his own lifetime, but one which, thankfully for us, he never abandoned.

Perfect then that Rattle, whose lifespan covers the years over which Mahler’s reputation as a composer has been established, should conduct him. Equally sublime that Rattle, for whom this is a final UK outing as Music Director of the London Symphony Orchestra, should choose to conduct Mahler’s farewell symphony, the ninth. Rattle himself was knighted in 1994, eight years before becoming principal conductor and artistic director of the Berlin Philharmonic, then taking on the challenge of Mahler’s Symphony No. 5 at his opening performance in September 2002, almost exactly 21 years ago.

Gustav Mahler

I had been fortunate enough to attend Mahler’s ninth at the Proms before in July 2011, when Sir Roger Norrington conducted the Stuttgart Radio Symphony Orchestra in his final concert with them. The appeal of this piece of music to orchestrate a professional farewell from one’s role as principal conductor of a world-renowned orchestra was therefore not lost on me, or indeed Rattle. Few conductors are recognisable from outer space, but I’d wager that any alien with a penchant for classical music would immediately recognise the white, crimped locks of Rattle, monochromous tonight against his smart black livery.

Rattle takes initially to the podium to conduct the BBC Singers performing Poulenc’s Figure Humaine, a cantata, a hymn to freedom, dedicated to Picasso and composed in 1943 during the Nazi occupation of France. The BBC Singers were also behind its premiere in London, in English, on Palm Sunday, 25th March 1945 – the score having been smuggled over to the UK five months before the war ended. A beautiful and intense choral work, chosen specially by Rattle who has described it as ‘profoundly moving; one of the greatest masterpieces that people don’t know.’

It was tonight the perfect appetiser for the evening’s main course, radiant in energy and harmonic, a choral masterpiece against tyranny. Rattle makes a point of leading out Sofi Jeannin, the Swedish chief conductor of the BBC Singers, to share the applause she has paid a central part in promoting. Then, after a short rehydration break, the conductor faces his ‘farewell’ challenge with the LSO, a group of people he has on more than one occasion described as his ‘family’. There is something religious about the falling silent of audience, orchestra and conductor before the onset of a final performance, whether it be of the night, a concert series, or of a career in post.

The ninth is, I would argue, the most self-consciously reflective of all of Mahler’s works, its tone set by the ponderous and lugubrious opening to the symphony, so alien to any of Mahler’s other, bolder dramatic initiations. I am gripped in anticipation by that silence. What a man is Rattle that he can let the whole of this majestic, mysterious and magnificent piece of music inhabit him as he hangs over that silence, ready to conduct.

Through Rattle, Mahler’s work tonight occupies a landscape of sound, narrating a man’s pain as cuckolded husband, unrecognised composer, dying… a man who was intimately aware of his own fate. James Joyce once said that for anyone to be serious about the study of his writing, they would have to be prepared to dedicate a lifetime to the task. For me, this single piece of music cries out for the same attention.

I find myself drawn to the horn section, and tonight the emotion of the opening movement is cradled by the subtlety of their handling of its many hanging moments. With his back to me, I cannot see Rattle’s cheek puffing, his teasing out of the connect between the players and the piece, but I can see them looking up at him, their eyes smiling. His family. The tiny mallets skilfully tap out the ringing of the tubular bells at the edge of that first movement; the climbing and scaling of the players across the terrain that Mahler has challenged them to cove. From the roof of the piccolo to the floor of the contrabassoon, Rattle weaves them in and out of the musical foliage.

It is a wondrous performance, and like the knowledge of death that Mahler hints at across the piece, the experience tonight is ultimately mortal. At the end of the first movement, Rattle nods knowingly in judgement of what we have all experienced, players and audience alike. I wonder at how effective my ears are tonight. Like reading a book at 18 and again at 65, the words, the notes, are static on the page, only ever brought to life by the human experience. As the orchestra move gently, urgently, left and right, I contemplate the cold fact that Mahler never heard or directed this piece himself. It only ever moved in his head, as he wrote it. What would he think about all of this? This performance 114 years on from the writing of it, conducted by someone whose love of the work has given us all this sublime evening. The thought is worthy of something with which to underpin tonight’s unforgettable experience.

Italian light, and Nordic darkness

Image: Stuart Millson
STUART MILLSON (celebrating his 43rd season) reports from the 2023 Proms

‘Where are the Proms of my youth?’ asked Barrie Hall’s now almost forgotten book, The Proms and the Men Who Made Them – a title that would be unlikely to pass the sensitivity readers of today’s London publishers. When I first attended the Proms, one joined a queue (along with all the other sixth-formers and undergrads) for the Gallery or Arena. You paid your few pounds at a little booking-office-type hole on the south side of the Royal Albert Hall and in you went. For the Last Night, people camped outside on the pavement near the Hall’s South Steps for two weeks, just to ensure a place on the front rail of the Arena, or close to it. Today, Promenaders no longer queue up: you book your Arena or Gallery ticket online. And the Last Night camp was abolished years ago, on health and safety grounds.

There have been changes in the repertoire and in presentation: this season, the BBC Concert Orchestra collaborated in a Northern Soul Prom – something that would have been virtually unheard of in the days of past Controllers of Music and Directors of the Proms (although Soft Machine did manage to creep in under Sir William Glock’s radar in 1971). Have such initiatives opened up the Proms to a younger audience? I am not sure. In 1983, the Arena was composed of 75% youth, 25% oldies. The ratio seems to have reversed. So more work needs to be done – perhaps more classical music, less Northern Soul, or at least another type of soul from the North.

Sir William Walton. Image: NPG (Wikimedia Commons)

For the 3rd August Prom, given by the BBC Philharmonic (formerly, BBC Northern Symphony Orchestra), Oldham-born William Walton (1902-83) provided the centrepiece of the concert, in the form of his Violin Concerto of 1939 – a work inspired by the composer’s abiding love for Italy and its riviera. Tinged with Mediterranean sunsets and shadows, and containing many moments of deep lyrical introspection and unbridled romanticism, the Concerto nevertheless provides some ferociously exciting and incisive sections for both soloist and orchestra. Playing the solo part that night was Manitoba-born James Ehnes – a musician renowned for his interpretation of Walton – and one who finds the true measure of a composer too often seen as something of a steely recluse, but who, in his heyday, was a determined, passionate and often avant-garde figure.

The Violin Concerto (like the stormy First Symphony written some four years earlier) has a surprise up its sleeve for the listener – a break from all the heavy preceding passion via a ‘presto’ movement, laced with a dash of jabbing, smirking, sardonic humour; softened by a waltzy, Neopolitan dance rhythm – the effect, like a generous glug of wine tipped into a glass during a fiesta. The movement, though, also broadens out into a serious nocturne: dreamy, intense; the dissatisfied Englishman abroad sinking into his local surroundings, yet thinking (perhaps) of glimpses of home. But for Walton after the Second World War, ‘home’ ceased to be England; with his new Argentinian wife, the composer turned his back on queues and nationalisation, settling on the little isle of Ischia out in the Bay of Naples. Continuing to compose, he produced such fine pieces as his Cello Concerto and a grand opera, but never quite recapturing the ardour and brilliantly-written soundscape of the Violin Concerto. As author Laurie Lee once observed: “All the great hymns to the sun are written in cold garrets.” When you are in the sun, you just… sit in the sunshine.

Image: Daniel Nyblin (Wikimedia Commons)

Sibelius’s Symphony No. 1 ended the concert. In a lifespan similar to that of Vaughan Williams, Sibelius lived from the era of empires and Grand Duchies, to the atomic age and world order of the United Nations. Yet throughout the changes remained rooted to a vision – and a physical reality – of an unchanging landscape and heritage. In his music, Nordic deities make brief, spectral appearances through endless pine woods; swans in flight sweep like angels across frozen lakes, on corridors of cold air – and at night, bards tell tales of heroes and worlds gone by. The First Symphony comes from 1900 – or rather, it was revised in that year, because it is essentially a late-19th-century piece, influenced by the dense harmonies of Tchaikovsky, but still (in the opening movement) showing signs of the fleeting, sparkling, supernatural Northern Lights that characterise the fully-individual works that would come – the kind of delicate, subliminal Nordic Impressionism of, say, the Sixth Symphony. Conducted by the Finnish maestro, John Storgards, both Walton and Sibelius found a worthy interpreter.

Just a word about the opening piece, Kafka’s Earplugs (a BBC commission for Irish contemporary composer, Gerald Barry, born 1952). Not even the Kafka title and the composer’s self-described “sense of humour, which I obey” could rescue this ten-minute monotony – and mediocrity. As the piece ended, one member of the audience shouted: “Total rubbish!” Who are we to disagree? 

Deep state

DEREK TURNER is editor of The Brazen Head. He is also a novelist, reviewer, travelogist, and the author of the chorography Edge of England: Landfall in Lincolnshire (Hurst, 2022). www.derek-turner.com. Twitter: @derekturner1964. Instagram: edge.of.england

“Stilled legendary depth:
It was as deep as England”

‘Pike’, Ted Hughes

The plumber’s van’s been standing since the small hours

At the fishing-place beside the chartered town;

Its driver has been sounding deeper waters

Since he set up as the night was going down.


He saw the sun come wheeling up from ocean,

Watched whitening sky go glowing into gold;

Heard the birds orchestrate their calling,

Stamped booted feet to counteract life’s cold.


Cynosure of today these level courses –

These muddy understated lowland drains

Whose depths hide evolution’s shining forces –

Silver knights swim pricking on these plains.


Other men stare silent at reflections,

Itching for a twitch upon their lines,

Unknowing echo ancient Izaak Walton,

Compleatest anglers, contemplating time.


Coarse fishers here can sit on thrones like Doges

Wedded to the waters of their wealth;

Serene for once among the mace and sedges,

Each man an island nation to himself.


Slow surface holds deep state of planted kingdoms,

Mirrors showing sallow, alder, oak –

Chlorophylled and kingly-symbolled leaves

The royal trees on any English road.


The tops of reeds stand proud among sheet-silver,

Their dirty roots outshone by swelling light –

Excaliburs – or the lances of dead riders

Who rode here once to set the east alight.


Waterfowl calls urgently to offspring –

Brown fuzzy balls bob cheeping at her steer.

The angler cannot stop himself from smiling,

As he casts for luck across the haunted mere.


(Awake by now at home, his fishing widow,

Sipping her first coffee of the day.

Smiling at her grandkids out the window –

Her ducklings’ ducks, so soon to swim away.)


The plants that edge the lake have grown here always;

Reseeded from some Anglo-Saxon store –

Marginalia from the seventh century,

Still richly green if now less filled with lore.


Epona tails of Rome and Celt connections

Vanished lands in floreated forms –

Lush lowland lawn, these thronging herbs of nations,

Forget-me-nots and flags, dog-rose and thorn.


Apothecaries prospected these elixirs,

Water-mint and yarrow, woad and rue –

Cut and dried for daubed dog-Latined ewers,

Cures for flux, stone, plague, and marsh-ague.


Pallid fish slide silent near the surface

Or nose among new-inundated grass,

Animals always searching for advantage,

Ghosts glimpsed in oxidising antique glass.


Carp suck and spap and rise to find him casting;

Their ancestors gaped for God-believing men;

Now endless sky, that abbey’s painted ceiling –

Great fane forlorn, foundation lost in fen.


He throws his line along the deepest margins,

His hook hangs in the decomposing ooze;

He hovers with all fish beyond all ageing –

Quick and dead commingled in long view.

A Man of Heart – The scribe’s story

The story so far. In the 5th century Vortigern’s attempt to hold the imperial province of Britannia together has been defeated, not by external enemies but by British rebels led by Vortimer, his eldest son. Vortimer is a devout Christian and has invited the Pope to send an embassy to restore the Church, and combat the Pelagian heresy. What follows is the second half of Chapter Ten. At Vortimer’s request, the Pope has sent an embassy to Britain to combat heresy, led by Germanus of Auxerre and Lupus of Troyes.[i] The embassy finds Vortimer’s court shrinking, his rebellion a failure. The chapter begins with Vortimer’s death, by poison, then backtracks a few days. Rowena has arrived, seeking instruction in the Christian faith. You can find chapters 2-10a on the Brazen Head. The complete story has been published as A Man of Heart, by Shearsman UK (January 2023).

Lupus offers Rowena instruction in the Christian faith

Why should I love my neighbour

when he wants to rape me?

I do not think you love yours

when he burns your house, kills your friend,

uses your women, serves your children to his dogs.

I do not think you love him then.

You will not turn the other cheek.

You carry your pride like a glass bowl.

Your Jesus was no warrior king

but he said one perfect thing.

I was hungry, and you gave me food.

I was naked and you clothed me.

I was homeless and you sheltered me.

There are stories told amongst my people:

families, without weapons, seeking land

came to these shores. They were hungry,

naked, homeless, and your good Christians

let them scrabble in the waste land,

killed the weak, abused the women,

sold survivors into slavery

then went to church and prayed.

Germanus instructs Rowena in the Christian faith

We drift on a winter sea

in the middle of a hailstorm.

                                                           And your faith protects you?

No, that’s the pagan way.

The whining, selfish child

begging for new toys,

throwing good metal in a bog

to appease the local fog,

as though tree could think

or river grant a wish.

No, faith is the destination

that disciplines the journey.

Cattle are born, eat, shit, fuck and die.

You can live like that. But

reaching for the impossible

is what brings us closer to God.

And the fact of Incarnation,

gives the church the confidence

to lecture bandit kings on the Beatitudes.

                                                            A beautiful impossibility?

She could have smacked his face with less effect.

He had been thinking aloud

not expecting this girl to understand.

Before he could reassure himself

she’d fluked the answer she said;

                                                            Your faith is not a shelter in the storm

                                                            but a way of living through it.

He blinks her into focus

seeing a new species for the first time.

Rowena and Vortimer

She is ice underfoot.

A golden symmetry,

that aches his fingertips

as he resists the need

to reach and touch,

curve, fall and flare.

Stray hair across her cheek,

tightening his throat.

In another version of this story

they are friends and wary allies

helping his father rule the country.

In another version of this story

she is his queen.

                        But she is not smiling.

She scowls, because he is stupid,

because she asked a simple question:

‘Why do you hate my people?’

and his answer was inadequate.

She is ice underfoot.

But then she smiles, and rises

fills the goblet,

‘Leofue freond wæs hæil.

For þine kime ich æm uæin.’[ii]

Lips on the goblet’s rim.

Lips glistening with wine.

Their hands touch lightly,

shocking him.

Her breath on his cheek,

her lips

delirious proximity.

He drinks. ‘Drinc Hail.’

Kisses her on the mouth.

Lingering.

She steps back, smiling.

A child, pleased with herself.

Adolf and Vortimer

They are on the same page

singing to the choir

on a level playing field

where no one’s moved the goal post.

He’s there for you.

You’ve got his back

and the wine goes round.

Best friends forever,

boozing buddies,

veterans on a park bench.

And the wine goes round.

Vortimer waiting for the pitch

for the sudden swerve

this is Adolf, who admires

the Roman art of usurpation,

who thinks the Roman way’s

a zigzag path through shadows.

Words bend, mean only

what he wants them to,

‘devious’ a compliment

sincerity, simplicity,

synonyms for stupidity.

So the wine goes round.

Knowing Adolf thinks he’s stupid

provides the King with clarity.

It rankles that he’s right.

They should have waited till the spring.

They’d all heard Gloucester’s stories.

Snowed in on The Wall,

roads you could swim over,

mud you could drown in.[iii] 

But Katiger had stumbled over Horsa

and grabbed his chance at glory.

Both men had died.

The forces Gloucester

set to spy on Thongcaester

had heard the news of Horsa’s death,

thought the revolt was underway and charged the gates.

Beaten back, then annihilated.

The survivors of the southern Saxons

had made their way to Thongcaester.

The northern tribes had stood behind his father

and all winter raiders had brutalised the lands

of anyone who challenged Vortigern,

with the vindictive precision

of the Empire in its glory days.

In the west Gorlois was sitting on his hands

ignoring every summons and command.

They had claimed a victory.

How bright had been that morning.

The thrill of cheering crowds.

Hail King of nothing.

Hail nithing, King

of Britannia

south of Watling street

and east of Tamar.

Heads.

Bags of heads.

Riders bringing sacks of heads,

spilling them in front of him,

‘til his steward said,

‘My lord, we’re running out of coins.’

Gloucester had warned him against the bounty.

Warned him that many of those heads

were once on British shoulders.

The purity of his intent;

to clear the pagans from the land,

so Christ might rule again,

polluted by self-interest.

How many private scores were settled?

How many family feuds resolved

under the banner of his leadership.

He’s seen the devastated homesteads,

the burning villas. He’d stood

in the groaning aftermath,

the smoking shambles,

and heard his father’s voice:

‘You can’t go hunting with untrained dogs.’

Only now he understands.

Soon Hengist will return

with thirty, fifty, sixty ships.

Baptise the woman,

he can’t play the pagan card.

But the card itself is false.

He wanted to establish

God’s Kingdom in this island.

A purified, united, church.

A people ruled by Christ’s example.

In your dreams child. In your dreams,

not in theirs. In theirs,

the endless whine of ‘What’s in this for me?’

Stripped of religious fervour,

his rebellion is mere peevishness.

Already his supporters

have started to remove themselves,

deaf to summons or instruction.

Come spring he will not have an army worth the name.

They’ll scatter it like leaves before a gale.

The wine is a peace offering

as Gloucester tries to save them both.

Avoiding the topic of The Woman,

he’s making an effort,

trying not to be abrasive

but water’s wet and why

this foolish boy can’t see it

is a mystery beyond his patience.

There’s a limit to the number of ways

you can explain something:

‘Without coin or office,

your only reward is land.

If you give that to the church,

how will you reward your followers?’

                                                           ‘The weightier matters of the law,

                                                           are judgement, mercy, faith.’

‘The only choice you have

is whether to survive or perish.

Power has its own logic.

You can no more

change this system

than you can push a cart and sit in it.

We live in the world,

not a cloister. Friends and enemies 

will judge you by your actions.

Your intentions are irrelevant.’

And the wine goes round.

                                                           ‘Germanus led an army,

                                                           more than once.

                                                           He’s run a province.

                                                           We could ask for his advice.

                                                           We should listen.

                                                           We could learn.’

Bit late for that, thinks Gloucester.

‘A bit too ostentatious don’t you think:

the hair shirt, the hard bed,

the hand-ground horse food?’

Soon his failure will be obvious

He will be Vortimer Nithing.

And he cannot face his father,

on the field of battle, or later,

after his inevitable defeat.

What is left to him,

except the Roman Way

for the defeated rebel general?

Best friends forever,

two lads on the piss.

You’ll buy the hangman’s drink

before he snaps your neck.

Find the Pagan Woman

It’s dark and Germanus,

is flapping between the buildings,

like a giant moth, until he finds the scribe. 

‘Boy, where is the woman?’

                                                           ‘She has lodgings by the gate.’

‘Go to her now. Tell her she must leave:

immediately. It is no longer safe.

Tell her to get out before the gates are shut.

And tell no one where you go or where you’ve been.

Or that I’ve spoken to you. Go!’

The job not the title

He dreads their silence

it disrupts logic, qualifies sense,

suggests the worst while saying nothing.

‘For your skill with words

you will join the Papal mission

you will travel to Britain.

You will record everything,’

said his superior.

He had accepted, thinking

the place was his by right

of skill and knowledge.

Only now he understands,

it was curse not compliment.

They picked the one that no one liked;

the one they could afford to lose.

Germanus had confronted Gloucester

Who has to lean forward to hear him,

thinking of the breeze

coming in over gilded water.

‘The British Lords have been in council

and through them God has spoken.

They will ask Vortigern to return.’

Before Gloucester can object.

‘God sees through you, knows

your pride and your ambition

No service, humility, compassion.

There is no Roman order

without Roman discipline.

No discipline without obedience.

Who follows someone who will not follow?’

Gloucester says nothing.

The Papal embassy is leaving,

The Boys are on the move

and they have the Pope’s support.

Germanus to the scribe

‘We go north,’ said Germanus,

‘to confront the heretics.

We will visit the shrine

of the blessed Martyr Alban.

You…’

                                                           And then that pause.

‘You will go west, to Gorlois.

Give him this. Tell him,

we admire his loyalty.’

And then

                                                           another

                                                                            pause.

‘Your time with us is over.’

                                                           The scroll he’s holding

is shaking. Terror is eating

the sentences inside his head.

‘Gorlois has need of skills like yours.

If not, stay west, find a community.

Seek God in prayer and silence.

In these alarming times…’

                                                           Another

                                                                                                                      pause.

                                                           ‘In these alarming times

So many die, nobody notices

unless they’re royalty.

One more body by the road

won’t interest anyone.

The west is safe.‘

Departure

People invest the past

with qualities they feel

are lacking in the present.

But for once in history,

those Empire days

really were that golden.

The sea was calm,

the sun was rising

the crew preparing

for the channel crossing.

They had cremated the King,

ignoring his demented order

to bury his head overlooking the coast,

convinced no raider would bother the island

while he kept watch.

‘So?’ said Lupus, standing at the bow,

enjoying the breeze, the gentle rocking of the ship,

the promise of an uneventful passage home.

Germanus watches the crew securing the last of the cargo.

Admiring the easy way they go about their tasks.

                                                           ‘So, we confounded heresy.

                                                           And The Boys are on the move.’

The nearest sailor moves away.

No one has come to see them off.

Messengers had been sent north,

seeking Vortigern to offer him the crown.

‘I’ve met The Boys, and they can’t win.

Though they’ll reclaim the island,

they might stop Hengist, not his people.’

                                                           ‘They have outlived their time.

                                                           Cheating your way to power,

                                                           only works while there are rules

                                                           and the other players follow them.’

Slipping their moorings,

the sail, cracks, grows taut.

The ship pitches then steadies

into an easy forward movement.

The grey walls of Porchester shrink,

slipping off their starboard bow.

Moving out into the Solent,

the breeze strengthening.

                                                           ‘The last legion left from here.

                                                           Roma Fuit. Urbis conciditatus.[iv]

                                                           These Britons.

                                                           These proud, sniveling rebels.

                                                           Adulterers, fornicators,

                                                           parricidal, incestuous,

                                                           assassins,

                                                           refusing to be ruled

                                                           but whining to the Empire

                                                           help us, save us, pity our distress.

                                                           We who do not understand obedience,

                                                           who will not pay the asking price.

                                                           Mouth Christians who forget their God.

                                                           He has not forgotten them.

                                                           He will fall upon this generation

                                                           and his wrath will be remembered

                                                           til the rocks melt.’

‘Then we’re agreed,’ said Lupus. ‘Britain is doomed.’

                                                           ‘Oh no,’ said Germanus, turning

                                                           to look back at the mainland

                                                           and the white chalk slash in Portsdown hill.

                                                           ‘The Church is safe. We did what we set out to do.’


[i] Germanus of Auxerre is the most ‘historical’ of all the characters in this story. He did exist and he did travel to Britain to combat heresy in 429. His miracles, described in the first half of this chapter, are in the Life of Saint Germanus, written down in the late 5th century. Typically for the Legendary History, the chronology is wayward. If Hengist landed in 449/450 he arrived twenty years after Germanus had left.

[ii] See the Wassail ceremony in Chapter Six

[iii] See Chapter Three

[iv] Rome is no more, the city is ruined. I can’t find the source of this quotation.

Four poems by Jeremy Hooker

JEREMY HOOKER is a poet, critic and editor. His work for BBC Radio 3 includes ‘A Map of David Jones’. He is a Fellow of the Royal Society of Literature and a Fellow of the Learned Society of Wales, and an emeritus professor of the University of South Wales. His Selected Poems was published by Shearsman in 2020. His most recent books are Word and Stone (Shearsman, 2019) and The Release (Shearsman, 2022)

Stonemason, Sculptor, Mariner

To Philip Chatfield

A man who came alive from a wreck

off the Cornish coast, in which

friends died; who clung

to a barnacled rock, which saved his life.

Rock, sea-washed,

jagged for a hand-hold.

           What stone gave him

he has given back

with imaginative touch

shaping images lovingly

with chisel and hammer –

the Virgin of Tintern Abbey,

the Madonna of Capel-y ffin –

mothering figures

that gather the silence about them,

and turn the master’s work to praise.

She brings flowers into my home

For Elin

1

She did not love me at first,

a stranger who appeared

in the middle of the night,

and woke up to a foreign land

with cycle paths and windmills,

flat pastures and fields of blue clay,

taken from the sea, which

always pressed at the land’s edge,

promising to return.

And the people were strange to me.

They look one in the face

with a directness that shows

no use for English irony,

as if to say: ‘And who are you?’

2

Who was I then?

A youngish man with a broken life

who was being loved back whole.

How should she care about that,

seeing an intruder in her home,

a stranger with whom she was required

to sit at table, disliking the way

he opened his mouth

and chewed his food, regarding me

with a critical eye that I was unaware of,

as I floated in the warmth of her mother’s love?

 3

Now, though, she crosses the North Sea

to visit me in Wales, and buys me

daffodils – no longer a girl,

but a woman in middle years

with two boys and a grown-up son.

And she is fighting the addiction

that ruined her mother’s life,

and fighting it successfully

with willpower and therapy.

‘No’, we say, ‘life isn’t easy’,

as we look into the past, seeing

the woman we both loved so much,

who would have given her life for us,

if she hadn’t been taken by alcohol.

What sadness we have known, what grief,

and how we have shared it.

Yet still, she says, ‘There is only love’.

Cuckoos at Deri

For Debbie and Ian Tog Jenkins

No cuckoo,

again –

              a deadness

at the heart of sound

through May & June.

No cuckoo,

but news of cuckoos

in our friends’ garden,

two of them,

muscling eggs

out of a blackbird’s nest

to bring the summer in.

Singing The Needles

1

It was a melancholy song,

the sound from the Needles’ light

moaning through the bedroom window

on a morning of mist or fog.

It came in with the thought of wrecks,

HMS Assurance and other ships.

Three stacks, and one lost to a storm,

Lot’s Wife, in the eighteenth century –

she shouldn’t have looked back,

gesturing to Old Harry across the Bay.

2

There are things that stand out

with the naked bareness

of being, answerable

to no one and no thing.

But these may be loved,

and mark time in the sea

of a human life – storm-battered,

or jutting out of the calm sea,

that is silver or gold in the sun.

3

Vanishing in mist, or with a sharp,

bright edge, as though, ingrained

in rock, a whole life becomes visible,

the splintered stacks stand.

Unseen, too, they are a mystery

that makes itself known,

moaning through windows

and marking a day of mist or fog.

Five poems from The Book of Merlin

LARRY BECKETT’s poetry ranges from songs, Song to the Siren, to blank sonnets, Songs and Sonnets, to the epic American Cycle, including Paul Bunyan, Wyatt Earp, Amelia Earhart, and seven other book-length poems. Beat Poetry is a study of the poets and poetry of the fifties San Francisco renaissance. The Book of Merlin will be published in October 2023 by Livingston Press, the University of West Alabama.

Merlin was a 6th-century poet in northwest Britain, who spoke the Brythonic tongue. He was known as Myrddin Wyllt, or Merlin of the Wilds. He was a contemporary and comrade of Taliesin, and though The Book of Taliesin is extant, for Merlin, there are only a handful of poems in The Black Book of Carmarthen, The Red Book of Hergest, and other middle Welsh texts. But scholars have suggested that Merlin’s other lyrics were embedded in the Latin poem Vita Merlini by Geoffrey of Monmouth. Together, they tell of Merlin’s later life. My translation is the first time that his surviving words have been gathered in one manuscript since The Book of Merlin was lost in the 12th century.

Green Warriors

Can doom, so hard, so harm me by

spiriting away all my companions,

who made kings and far kingdoms

shake? We are uncertainty, death

is always here, and it’s in power

to strike with its secret blade, blow

poor life out of the body. Green

warriors, who will stand by me

in arms, stave off the commanders

coming to hurt me, and the armies

rising against me? You were brave,

and that bravery has spirited away

all your sweet years, your youth.

Oh only now you were charging

in armor and cutting all of your

enemies down. And now you lie

light on the earth: it’s reddening.

The Bride

I can hear Gwendolen grieving,

her tears: I grieve for her, down

in despair. No woman in Wales

of more beauty: beyond goddess,

the blossoms in the hedge, rose

in bloom, the lilies of the field,

in her, only, the light of spring,

in her eyes, only, constellations,

and in the gold glory of her hair.

All this is gone, the grace, away,

the blush, the snow, of her flesh.

She is not what she was, but worn

with crying, she knows nothing of

where her man is, or dead or alive,

and she lies sick, and she is fading,

in the dissolution of the long days.

Gwenddydd is by her side, in tears,

no consolation for her lost brother.

One, by marriage, one, by blood,

devoted, in mourning, pass time,

can’t eat, can’t sleep: they wander

all night in the wildwood together

with their anxiety burning inside.

To King Rhydderch

Let lords who think that they’re poor

have all these gifts, who, not content

with living simply, would have it all.

I’d rather have the oaks, the groves

of Celyddon, high hills, green vales

down below—that’s all that I want,

not what you offer, King Rhydderch.

And my wildwood, with all its food,

that I desire over all, will have me.

It’s men who pinch pennies, grab

for them, who go for gifts, and they

can be corrupted, so that their wills

can be bent any way they’re told.

What they have is not enough, but

for me only the acorns of Celyddon,

the shining creeks, and the grasses.

Let those misers have your bounty,
I can’t be bought: give me liberty.

Gwenddydd’s Lament

Mourn with me, women, mourn

the death of Rhydderch, a man

whose like’s unknown on earth,

peace-loving, all those warriors,

no violence, and fair to priests,

 with both high and low under

the law, the open hand, giving,

not keeping, all things to all,

doing right, knights’ blossom,

kings’ glory, kingdom’s pillar.

I am in pain, for what he was

is suddenly for worms to eat,

his body in the grave. We had

silk sheets: is this your bed,

your white flesh, king’s arms,

covered, under a cold stone,

nothing but dust and bones?

And so it is, our low destiny,

in the long years: none can

go back to what they were.

What use, this glory that comes

and goes, that fools and injures

even the mighty? The bee lays

out honey where it later stings,

like life. The best is brief; this

is its way: like flowing water,

all good passes away. So what

if a rose blush, a lily bloom,

a man, a horse, be handsome?

Questions for the god, not us.

So I’m leaving, all you kings,

high walls, local spirits, dear

sons, all that is of the world.

Today, by my brother’s side,

I’ll go live in the green wood,

and wrapped in a black shawl,

I’ll worship, with a glad heart.

I Decline

You are young, but at my time

of life, I can’t be asked to take

the scepter up, and to be fair.

I’m in old age; it has my body

and slacks my strength; I can

barely walk across the fields.

I have lived long, and enough,

in joy, in abundance, smiling.

In these woods there is an oak,

old and rugged, and so wasted

its sap’s failing, and it’s rotting.

I saw the acorn as it first fell,

and saw it sprout, woodpecker

above it, on a branch. I saw it

in detail, I honored it, I marked

in memory the place it stands.

I have lived long; age is heavy:

I will not reign again. I’ll stay,

green leaves: Celyddon Wood

is my delight, more than corn

of Sicily, grapes of Memphis,

robes in the perfumes of Tyre,

rubies of India, gold of Tagus,

tall towers, or cities in walls.

Nothing can touch me so, or lure

me away from the green woods,

so dear to me, as always. I’ll stay

while I’m alive; with its grasses

 and its apples, I’ll fast and purify,

till I’m worthy of everlasting life.

Look up, the cranes are flying,

in lines, in letters of the alphabet.