The Karleton Kreeper

The song of the lark was abroad in the Marsh, with March greening the tips of the willows – but in Hugh Barde’s heart it was December.

He’d come out of his door in disgust, and now stood in the shadows, looking at his courtyard in deep dissatisfaction. Damn Hildegard! She’d been at him again. The same bloody subject – Sir Guillaume. How much better their knightly neighbour was as landlord. How much more successful. How much better maybe even as a man.

The despicable knight– him, a knight! – had just expanded his estate again, so his holdings now nudged right up against Hugh’s on two sides. The little hill on which Sir Guillaume’s handsome castle stood had always been irritatingly visible from Hugh’s chamber window, but now his churls could also be seen not far from Hugh’s front door, cutting brushwood and digging a ditch to drain the two carucates Hugh had not been granted by the King.

Guillaume, it was well known, was also manoeuvring to get the acres of waste along the coast road – right where Hugh had always intended to plant his town. Soon the jumped-up bastard’s corn would be waving right in front of Hugh’s own gates, his sheep baa-ing balefully on all sides. If this wasn’t stopped, soon the fame of the Bardes would start to fade, their line bleed into the peasantry. One day, Hugh thought, trees could be growing in this garth, uprooting all the Bardes’ embankments.

Guillaume, blast him to Hel, was cousin to the King, thanks to artful marriage into one of the oldest families in Falaise. That was why he was granted lands. That was why he was Lord Justiciar, holding life and death over the district, and with entrée at Court. All this, although both Barde lines were older, and incomparable at war. Yet Hugh’s father – a descendant of both Charlemagne, and the man who had won the way up out of the Malfosse – hadn’t even been given permission to fortify his own bailey! Hugh looked around sourly, thinking how shabby his holdings seemed, and how small. Ever since coming back from the wars, everything had seemed unsatisfactory.

It appeared not even Heaven favoured the family. Hugh had spent three whole years in the Holy Land, and at Aleppo had felled the Saracens’ giant champion – while Guillaume had stayed at home eating, reckoning up deeds and scrip with his fat fingers and soft hands. They didn’t even have a halfway-decent house-chaplain, Hugh reflected bitterly, as he noticed that shaven-headed spiritual advisor slinking out of the chapel, and towards the kitchens with their ale-barrels. As well as being a sot, he was also ignorant and lecherous, spending less time with the Church Fathers than with the miller’s mooncalf daughter.

Hildegard couldn’t really understand the way courts worked. She was only an English noblewoman, and so scion of a failed nation – although that little detail didn’t stop her having commanding airs. Hugh’s mother had had these too – sniffily conscious of her Mercian bloodline, and obviously regarding her husband’s people as brutal arrivistes. Once, when especially exasperated, Hugh’s father had confided in him that he wished he had found some nice quiet bride from the old country.

National pride lurked in even the mangiest and muddiest of Karleton’s vassals, for all their bowing and scraping and tugging of their stringy forelocks – as if they still hated, just waited to overturn their nation’s fate. Our nation’s fate now, Hugh corrected himself glumly. Two of these half-fellow countrymen trundled past at that moment, inclining their heads in what Hugh was sure was false fealty, towing a cart piled with fresh-cut reeds. Hugh looked sourly at their smocked backs, suspecting they were smirking.

Hugh’s Norman ancestors had now been in England for over a century, and of course his English antecessors since time out of mind. Hugh’s Norman grandfather had symbolically placed their bailey on the outline of an ancient fort. Yet Hugh still often felt he was not fully of this place. He wasn’t quite accepted, not privy to its secrets – didn’t know its still half-heathen gods. The full-bloods seemed a people of primitive beliefs, dwelling in a realm of ghosts.

Their superstitions could be contagious, even for Hugh, who had read a little, and travelled widely. There were odd moments, even on the bravest of days in the season of the year, when Hugh was eager on the trail of the boar, that he would find himself drifting into peculiar reveries, as if suddenly seeing himself from outside. All earthly sounds would die away, and he was suddenly unsure about where on earth he was, and what he was doing and why. Moments when it seemed nothing was real.

Some unanticipated movement might cause him to pause – or breaking through an arras of trees to find some hot and muffled clearing, where something important seemed just about to happen, or maybe had just been. Moments when the only noise was Bayard’s breathing, as the great big-eyed bay laid back his ears in fear, and goosebumps rose along his glistening neck. Some deeper than usual dappling or shadow – the monstrous shape of some trunk – the way roots seemed to swarm out of the ground… Hugh would foolishly imagine darting eyes amid the tangling leaves, cold watchers among the boskiest brakes of thorn.

There were wolves out here sometimes, of course, and cats – not to mention brybours, wandering robber-gangs who sometimes stooped to murder, about whom Guillaume naturally did nothing. The only crime he cared about was poaching, as might have been expected from such a voluptuary – who reportedly enjoyed watching miscreants being beaten in his basements.

But Hugh also sensed less corporeal dangers – dangers not easily driven away by the angriest barking of alaunts, or the most stoutly-wielded steel. The boars themselves could be more than just meat – capable of biting and excreting as burningly as any bonnacon, giving off infernal fetor, some even capable of shapeshifting. Witches still lingered in some corners of the woods, and leaf-clad wodewoses padded the greenest glades of all.

Even out on the open moor there were sunsets that seemed significant, dangerous dawns, and aery phenomena. The moon sometimes had a corona, at that season when ice-floes encrusted the beach, and your breath hung before your face like your essence escaping. On the night the old king had died at Thorney, a flaming star had arced over Karleton, charging eastwards at colossal speed before dousing its glim somewhere out at sea. The year of the Great Hunger, a vast skeleton had been seen by many out over the waters, grinning and stretching a long arm towards the land.

On the clearest and coldest nights, the alaunts would sometimes bay for unknown reasons, joined by the limers and greyhounds, signalling something unseen. These would awaken other dogs, and so others, and so others – on endlessly out across the silvery east, across expectant leagues of fen and moor, broad river and misty ditch, making churls curse and scratch on their paillasses, lords stir and mutter in their tapestried chambers, and wakemen look upward in interest. These eldritch alarums could carry all the way to Lincoln, to vex the uneasy moneylenders in their fancy new houses on the Hill, and the canons in the Cathedral, whose slumbers were too often filled with sin.

Even under the fullest light of day’s eye, there were lanes no-one liked going down, and particular pools in the fens, black and cold as could be, showing shivering facsimiles of the firmament, and tremulous reflections of reeds – whole worlds inverted, as if reversed men might be growing downwards into some underland. Summer’s lightning-flash adderbolt flies betokened the nearness of vipers, whose red tongues also lolled forth from the marsh-flowers gathered as simples by the goodwives.

The Anglais thought these pools held hags, or monsters they called nicors, Sir Guillaume had once informed Hugh superciliously (well knowing Hugh’s half-blood inheritance) – serpent-spirits that crept out at night to drain the udders of kine, or batten on the tender throats of children before taking them below. Their vapours were blamed when men sickened in the Marsh with unaccountable fevers, and grew yellow with unhealth and waking dreams. Women grew fractious and thin-haired in the noxious fumes, and brats often died at the dug.Hugh didn’t reject these stories nearly so readily. It couldn’t be denied that strange things did happen.

The Blue Stone, for instance, that had been dragged with such labour from the Bishop’s bovate, had eventually needed to be reinstated to stop the bad luck. Even Hugh’s hall was visited in the night by what the maids called boggarts – casting charms or stealing, sometimes just nuisances, sometimes something much worse. The maids propitiated them with dishes of milk, which would be empty the following day – although Hugh guessed this sometimes had more to do with cats, house-cousins of those at large in the greenwood. Hildegard had one – a grey Grimalkin that would sit with her while she span, glaring at Hugh, and hissing if he came too close. It was with her now, he knew – a changeling for a fine lady’s chamber, a watchful reminder of old darkness under trees.

Hildegard was right, though. It was unfair the way they were treated. If only, he thought yet again, he could find some way to distinguish himself. There were so many things he yearned to do, to turn the waste into fine estate, and secure a future for the boy. He saw the bailey made good, an elegant abbey arising, rows of robbers in gibbets, the trim roofs of a gated town with carts coming clopping from the coast, each carter leaving a token of respect to the Bardes, who had made the Marsh to bloom. 

He turned his head. What was that? Something odd was happening down by the ash-grove. There was a crowd – a very large crowd, several hundreds perhaps, with others coming at a run. They couldn’t allbe from Karleton. But whoever they were, they should all be working, he thought, as he walked their way irately.

But as he neared, he realised the reason for this strange stoppage. One word stood out amid a hubbub of wildly excited noise – wyrm, wyrm. As they noticed his presence, the crowd faltered and fell sullenly silent, looking down, or at each other, or away.

Hugh spotted a solid sort of servitor – Asser of Markebi, the master-mason. “Well, Asser? What is all this?”

Asser cleared his throat. “It’s a worm, sire! They say a great worm has come to Ormesbi – burning everything, eating people! A worm, sire, with a single huge eye like a burning wheel!”

“Nonsense!” said Hugh reflexively – but his heart sank into his stomach. Everyone knew dragons existed outside the tales boys were told – the saint taming the Tarasque, the dreadful Guivre of the Seine, the Shaggy Beast of La Ferté-Bernard, the loathly Lambton worm, Piers Shonks of Pelham, the white wyvern of the West and the crimson firedrake of the Welsh, locked together forever in fight far under Cambria, contesting for the country in eternity.

Had not the most learned geographers written of terrible lizards, and hadn’t Ptolemy set a dragon in the night-sky? Hugh had himself seen a crocodile in the Holy Land, and dragon’s blood on sale in apothecary shops. Kings of England had carried a dragon device. The Conqueror too had been called dragon for his desolations. Were not huge bones sometimes found in fields, or seen in the faces of cliffs? At Conisbrough of the Warennes was a stone showing a writhing beast beset by bishops. Hadn’t Sir Richard Buslingtorp bested a fierce Python just a few years before? The gold he had found afterwards had been the making of his fortune. Tiny dragon-like things could even be seen in Lindsey’s ponds, cousins to the cave-dwelling salamander, which crouched amid all flames unscorched.

In any case, the Bible was clear – such terrors had been in Babylon and would squirm forth again, crawling masters of the ground, agents of Chaos, emissaries of evil, harbingers of The End. Every Rogation-day, the churls carried a dragon effigy while they beat the bounds, immolating it after to feed the fields, and as insult to creeping Pontius Pilate. There would always be such beasts, until all lands were drained and tamed, and the End of Days.

Asser propelled a scarlet-faced man forward. “This is John of Ormesbi, sire. I knew his father – a man right worthy. He has run here to tell us what he has seen this day.”

John looked up defiantly into Hugh’s face, obviously not expecting to be believed.

“This morning, sire, a giant serpent, with wings, and a great rolling eye, landed on our hill like thunder! Longer than the church, it was – taller than the trees, blacker than night, hungrier than the wolf! It ate the sheep, the swine, and some of our people – and scorched up all the earth with its foul breath and trampling claws. Everyone fled! No-one can withstand such! I and all these others ran all the way, to warn you.”

The crowd burst back into babble, while Hugh tried to assess John’s worth. Eventually, he asked, “Did you take this report to the Lord Justiciar?”

“Yes, sire, with these men, and other men from Ormesbi, and Calesbi, and Wormesgay, and Burwell. From everywhere. But the lord just said – well…“. He paused, and looked away in indignation.

“Well?”

“The lord sent down a message, sire, by his steward, saying these were lies, and that we had better return to work, or face whipping!” The crowd groaned and seethed and muttered. “Norman scum! Always the same! That’s how they treat the people!”

John spoke up again: “But these are no lies, sire. I swear it, on the Virgin’s life!”

Asser interposed gravely. “Master Barde, I believe this man is in the right.”

Hugh’s brain was awhirl. Of course Guillaume wouldn’t go. He’d always been a coward, though who wouldn’t be when it came to dragons? Cowardice could never be an excuse, though – not for such as valued their honour. And now all were looking to him. There was no-one else. And sometimes – he gulped – even the worst fears needed facing. At last he nodded.

I believe you, John of Ormesbi! I believe you.” He clapped John on his shoulder, startling him, and himself, with his condescension. “I will go!” he said, and the crowd inhaled in admiration. Before he could change his mind, he started issuing orders. “You, boy – to the hall! Send for the priest Godric, and Athelstan my esquire. Bid them meet me in the courtyard!”

“Yes, sire!” Several boys raced away to be first with the news, as Hugh walked quickly towards his hall, followed by most of the crowd. As he approached, Hildegard was already issuing forth, holding the hand of their wide-eyed son, three-year-old future of the line.

“I have heard this strange news, husband! Is it true? And are you then riding out?”

Hugh nodded rather stiffly, but then Hildegard broke out wonderfully into a radiant smile – a smile he had never seen before. “The Bardes are never fainthearts!” she cried proudly. Hugh straightened instinctively, and then she drew him apart, speaking in low and eager tones. “Our neighbour has spurned this challenge?”

“He has, wife!”

“This then is your chanceour chance! Kill this thing, and tell the King, and Guillaume too is finished. He cannot be Lord Justiciar if he does not do the Lord Justiciar’s work! And then, husband, and then…well, who could be better fitted than a dragon’s bane?”

Hugh was struck by this. But there was one obvious difficulty. “But what if I miscarry! What if… well, what if I don’t come back?”

“You will not fail, husband! But – if you do, then you will have died like Roland – an example to our son, and certain of a place at Heaven’s board. I should be proud to be widow of such a man!”

Hugh couldn’t help wishing she had seemed less easily accepting of that prospect. Hildegard however kept talking, “But I know you can do this, husband. And when you do, you will have your reward. Your rights. Do this thing, for our son. Do it, for your honour. The King cannot refuse you anything if you succeed. And nor” – she paused significantly – “nor could I!”

Hugh could see it all – the grateful countenance of the King – the downfall of Guillaume, reversion of his lands to the Crown and so to him – a barony, and crest – a market charter. Above even these swam that superb new smile of his wife’s – a smile that filled his heart, and seemed to strengthen his sword-arm. He inhaled deeply of fragrant future-time, and a new kind of life with a Lady as wife.

Then his esquire Athelstan arrived, with boys and accoutrements as brilliantly burnished as the day they had been stored – chainmail, breastplate, bascinet, helm, long shield, and sword. Another boy came struggling after, battling to balance the long lance last levelled in the Holy Land. The stable-boy also came hastening, leading Bayard by the bridle, and another boy trotting alongside, tightening the girths of the war-saddle last straddled against paynim in Palestine. Everywhere was frantic with life, as if half the Marsh had come.

“Hold!” Hildegard cried, and all astonishingly did, struck by her command and clarity. “Goodwife, lend me your dirk.” To murmured delight and surprise, she sliced a strip of blue cambric from her own bodice. “Here, husband. My token!” She smiled yet again, but Hugh had no time to dwell even on that as he found himself beset.

The courtyard teemed with clamouring men and women of all ages and degrees, and from several estates, noisily exchanging advice about the best ways to deal with dragons. Lore was dredged up from murky depths, rich and shiny and strange as upcast from a ditch. There was a cacophony of contradictory suggestions, drawn from everywhere and nowhere. “Look for the gold! – Don’t look in its eyes! – Watch for its tail! – Don’t let it speak! – Give it an ox head! – Give it milk! – Bind it with a virgin’s girdle! – Watch for the wart! – Its blood burns fire! – Quench it in the lake!”

Hugh’s soldiering sense somehow asserted itself, and he went over to the corner to urinate before donning his array. He had once disgracefully bewrayed himself outside Jerusalem. As he adjusted his britches, he saw the priest Godric emerging furtively from the fortuitously unattended kitchens, wiping his mouth with the back of his hand, as if wiping ale away, which almost certainly he was. Hugh considered him dissatisfiedly; if only there’d been time to bring the Bishop, or even the Abbot from Louth.  

There you are, priest! Look lively! We have a great work to do!” Hugh moved over to the waiting esquire and house-boys, and now stood still among them, arms outstretched, as they began to gear him up. Athelstan’s fingers moved swiftly over Hugh’s sturdy frame, expertly buckling and lacing, every moment weighing him down more heavily.  

“A great worm, sire!” said the priest. “Can it be true?”

“Why not? They’re in the Bible, aren’t they?”

The priest seemed unsure, then brightened. “There was one in the Garden, sire. It tempted the woman! And, err, there were some more, near the end!… Or were those gryphons?”

Hugh snorted. “I seem to remember there were a few more than that! But let’s not worry too much about fine exegetical points!”

The priest smiled ingratiatingly. “Of course not, sire! Of course not, ha ha!” He paused for a moment. “May I just say, sire, how admiring I am of your great courage? And how proud I am to have known you? It has been my great privilege to have served you in howsoever humble a capacity…”

 “You’re still serving, man! You’re coming with me! You, Father, are my spiritual buckler and shield! You’re the best I can do at short notice!”

There was rough laughter from all within hearing as Godric gawped. “Me, sire? You don’t mean it, sire! I mean, you can’t. And…and what about the Rector at Ormesbi? Or Calesbi? I would not wish to impinge on their privileges… Or perhaps Oswald of Burwell …”

Hugh smiled grimly. “Eaten, for all I know! They’re probably choking the beast right now! It’s up to you, I’m afraid, Father. This is your chance! So go and get your book, and your cross, and your water, and get ready to ride – there’s a good priest. In fact, who not put on all your gear? It can’t do any harm. You, boy, go with him to help – and you, get the priest’s palfrey. You, fetch Dagobert and Manu. Today is the hunt of hunts!”

All the dogs had sensed the excitement, and were moving and moaning in the kennels, snapping impatiently at each other, whimperingly eager for the off. With difficulty, the kennel-hands eventually extricated white-and-black Dagobert and brindled Manu, Hugh’s favourites – veteran companions of la chasse, gashed with tusk of boar and tooth of wolf, slobberers over Hugh’s hands, and sires to many lusty pups. They almost pulled their handlers off their feet, nearly strangling themselves as they surged towards their master, drooling and whining. Everywhere was a-thrum with thrilling errantry and an acrid tang of fear, like the end of some age, or the start of a new.

All too soon, Hugh found himself clambering onto Bayard’s broad back, for what he couldn’t stop thinking might be the last time. Athelstan waited stolidly by, on his horse Godwine, Hugh’s lance resting in straps alongside his saddle until called for. The priest was being shoved unceremoniously up onto his mount, the humorously-named Godspeed, tricked out almost comically in full canonicals, holding miserably on with one hand, while the other clutched his book. Vials of holy water and chrism, plus some wafe, were in a bag belted across his body, sohe wasprepared for all eventualities. When he thought nobody would see, he slurped surreptitiously from a large leathern flask. Last came the huntsman and the whipper-in, who would run behind, or in front, depending on the fleetness of the hounds and the closeness of their quarry.

As the little group lined up to leave, an awed silence came down, broken only by the panting and whining of the dogs. Athelstan leaned down to rumple young Athelstan’s curly head, while his wife wept openly. At the back of the throng, the miller’s daughter’s eyes devoured Godric, but he was too preoccupied to notice, muttering intensely to himself. Hildegard stood out easily to her husband – noble in blonde and blue, holding the hand of the infant Hugh. As she and he exchanged a gaze of understanding, he fastened her cambric around his armoured neck, and nodded. She raised her right hand in salute, and smiled as if in wistfulness, or farewell. “Ride hardily, husband!” she called, clear as a church bell.

He weakened – but all eyes were on him – on the Bardes. He turned at last, and said “Let’s go” – and the retinue moved out amid cries of “Good luck!” and “God be with you!” People streamed out through the gates behind, and cheered the plucky party out of sight. Whatever happened hereafter, Hugh knew, Karleton wouldn’t be the same.

The fields fell unnaturally silent and still. Almost like the deserts in Isiah, thought Hugh, habitations of dragons and courts for screech-owls. Tools and barrows and lunch-pails lay where panicking people had dropped them. Bundles of reeds awaited unbound, eels were escaping from a basket, and a tree leaned crazily half-sawn. A cart of stone for the priory at Greenfield stood driverless, its still-yoked oxen grazing unconcerned. A hare that on any other day could have ended up on the high table raced away when it saw them, and a squirrel chittered angrily from an ash. The hounds had stopped barking, but were surging powerfully on, towing their stumbling and swearing attendants.

Hugh cantered at the head of the little line, wondering what he had let himself in for. It had been easy to be brave in the courtyard. But this really might be the last time he rode this road. That really might be his last hare. Those, his last sheep – and that his last oak burgeoning into leaf. Would he see it in full festoon? Would he see his son as man? A murder of crows going over brought back the battle-birds of Acre.

He wondered what his companions were thinking. These might be the last men he would see, and he realised he knew almost nothing of their lives. Yet even those now so cursingly busy with the dogs doubtless also had terrors. As for Athelstan, his esquire of twenty years – even he was an enigma, riding as always behind, expressionless as usual, sure and steadfast as a shieldwall, and just as blankly incommunicative. But the priest seemed the least knowable of all. Hugh had often wondered what possessed a man to take the tonsure, and now it looked like he’d never know. He observed Godric – so puny and uncertain in his seat, so ashen and muttering, letting Godspeed lag – and felt pity with his contempt.

“Ride up with me, priest!” Godric grudgingly spurred alongside. Hugh spoke more jocosely than he felt. “What about a bit of praying, eh? In English, if you like! Better simple faith than Norman blood, eh?” He would have liked Latin, but Godric’s Latin was notorious.

“In English? Of course, sire! Err, let me see, dear Lord, deliver us from evil! Um, shield us from the beast. Err…deliver us from evil. Shield us from the beast that crawls in the dirt…”

Hugh listened impatiently for a while. “What about one of our own? Guthlac, maybe?”

“Good idea, sire! Good old Guthlac! Err, dear Blessed Guthlac, deliver us from evil. Shield us, o sainted one, from the beast that crawls in the dirt, err…”

Hugh shook his head regretfully, and spurred on – searching inside himself instead for words that might suit saints. But he was acutely aware of his inarticulacy, and conscious of certain past transgressions. Maybe any words would be inadequate. Norman blood might be needed after all. Deus vult, he sighed in conclusion, Deus vult – and might to the smiting hand!

The priest fell back. He took another draught from his flask, then another. Godspeed was soon overtaken even by the profane and puffing men on foot, who stared at the priest contemptuously as they were towed past. He fell yet further behind, and Godspeed stopped to tear at grass, as Godric’s flask swiftly emptied.

Not far now, Hugh knew. Not far enough! Ketsbi Lane (medieval records rarely seem to capitalise words like “lane” or “church” (see Calesbi below) and often join them with hyphens to proper nouns, but it’s up to you) unrolled into the valley, and up again the other side, to the crest beyond which he knew they would find…what they would find. Whatever would find them. He registered Calesbi church with its gleaming walls to the south, and Burwell’s little tower to the north – reassuring sights for a once familiar world now in perilous play, his world that might be coming to its end. A storm came even from the blueness behind, clouds piling over the nearby ocean, a sudden squall blowing them on, and setting the trees to frantic dancing. Not far now. Not far enough…

Sky white in front – too white to be right – and then that white was forming a flaw – a wavy uncertainty, shimmering like the air that radiated from the soil in the long month of Leo, cutting off men’s heads, and inverting all elements. A buzzard circling Ormesby Top seemed suddenly to stop, and just wink out. The breath of the basilisk, Hugh groaned, sickeningly realising he had brought nothing to shield his face. The very shape of the wold was snakelike – those tormented stones a supple spine, that boulder a bulging and baleful eye.

An enormous roaring was now around, and a clashing of claws on scales – metal on metal, like the swords they had beaten on shields at Aleppo as they eagerly awaited the infidel attack. Heats of Hel now too, and charge of lightning, and a rank stench emanating from everything – incendiarized exudations of a thousand charnel-houses and cess-pits, worse than the scourings of sickrooms or the foulest fewmets of the wickedest wolf. As Hugh bit back vomit, and fought a desperate urge to flee, vast and sweaty steams swirled down and cloaked the crest in cerements of dread.

Bayard was twitching and whickering, with staring eyes and shining flanks, terrified but still true – true like a steed of ancient times, this wonderful warhorse of the Norman world, the finest mount between England and Jerusalem. Hugh stroked him to soothe, stroked Hildegard’s cloth, and wondered how the world would be for their boy.

Athelstan was now alongside, for the first time ever unsure, eyes huge as Hugh’s, and as affrighted. “Sire, you see…?” But he recalled his duty, and place, and was handing Hugh his lance as the breathlessly boiling and mire-bespattered hound-handlers caught up, their frothing and straining charges only just held in check.

“The dogs, sire?” panted the almost expiring huntsman, as the maddened hounds reared up to claw the air.

“Unleash them!” Hugh somehow said, swallowing down his soul.

The slipped alaunts bounded away berserkers, frothing to be first to find, and rend, leaving their handlers rolling helpless on the ground.

Startlingly in that same second, the priest miraculously materialized, a pale rider on wings of storm, unnaturally upright and even in that moment faintly risible – shouting indistinguishable oaths as he incredibly overtook them all, holding on with one hand while waving the Cross, chasing the hounds towards the crest behind which lay certain death. With the hounds Godspeed melted into the monster’s mists, and vanished from view.

“He’s drunk!” shouted Athelstan, amazed.

“He’s full of spirit all right!” Hugh joked grimly – his last joke – and gritting his teeth and gripping the lance with his gauntlet, with a tremendous shout he spurred Bayard up the slope.  

All images: Derek Turner

Pilgrimage to the peninsula

Image: Stuart Millson

Born in London sixty years ago and although, as far as I know, possessing not a drop of Welsh blood, I now live in the country to the west of the River Severn, popularly known for its chapels, presided over by Kenneth Griffith-like ministers, its famous rugby players and opera-singers born in obscure green valleys (obscure, at least, to the English), its rousing songs, hymns and tunes: Men of Harlech, David of the White Rock, Cwm Rhondda – music and people, you might say, bred of heaven.

Throughout my life, my homes have been in England – in London, suburban, increasingly Greater-Londonish Kent, rural Kent, besieged by the planners; marshy Essex and hilly Gloucestershire – and I developed interests in English music, English pints and pubs, pilgrimages to Canterbury and Romney Marsh churches and bird sanctuaries (all some 300 miles away from Wales). Yet today, living in Cambria, it feels as though a Welsh moss, or ivy has entwined itself around my legs, rooting me to the spot – with late-night fog and early-morning mist blotting out any sight of the tips of the Severn suspension bridge, obscuring the entrance to the Severn Tunnel, and making me forget about my previous haunts, routines, and once-loved favourite places. What caused all this? What brought me here?

Thinking back, long-ago family holidays to Tenby or Aberdovey might have sown the seeds for the Welsh enthusiasm. Or perhaps it was the evocative section on Wales from our family’s 1970s’ AA Illustrated Guide to Britain (“the land of Merlin the Wizard and Dylan the Poet”). Or maybe it was the drive, undertaken with the girlfriend I would later marry, on a spring weekend in 1988 to Carmarthenshire and Cardiganshire? The trip, even in those younger days when you are meant to have a surfeit of energy, felt like an act of escape from work and everyday life – the return journey spent, inevitably, on those ‘grass is greener’ thoughts, so common to travellers, deep down, ill at ease with some aspect of life. So maybe that explains it all: the vague, formless urge to escape – with only the ‘Celtic fringe’ of the British Isles, less congested by the knotty, breathless way of life everywhere else, now capable of offering retreat?

Part of the pilgrimage path. Image: Stuart Millson

All of these thoughts and memories – why and how have I landed here? – and isn’t it a miracle – jangled together, as I set off at the very end of February from home in Carmarthenshire to the City of St. David’s (the smallest city in Britain) for the 1st March St David’s Day pilgrimage to the cathedral, in its wide valley hollow, at the tip of a Pembrokeshire peninsula. According to Welsh hagiography, the sixth-century future Patron Saint of Wales, Dewi Sant was born in a thunderstorm by the clifftop – his mother, St. Non, giving birth on an apocalyptic night, where, miraculously, a well appeared, which continues flowing to this day, to bring forth legendarily life-giving, health-giving waters, considered particularly efficacious for sore eyes, or more serious ocular conditions. Several of the pilgrims gathering for this year’s St. David’s Day ceremony did, in fact, dab their eyelids with well-water – just prior to the Bishop of St. David’s, Dorrien Davies, almost re-baptising the throng (including a Catholic delegation from Kent and pilgrims from Ireland) using a bunch of watercress soaked in a full jug drawn from the well.

It was a simultaneously serious and light-hearted ceremony. Watercress was the thin, subsistence food used by St. David and his followers during periods of fasting. Today, as well as proving effective in the dousing of pilgrims, it also plays a part in a nightly ceremony (reinforced with port and Davidstow cheese!) initiated by the Order of St. David and St. Non. For more than a decade now, the Order (founded by the late Simon Evans and now presided over by one, Steve Turner, from Kent – but with, he tells me, a Welsh grandmother to his genetic credit) has participated in the annual ceremony. This year the Order brought to the altar not just its devotees, but an offering for the cathedral – a substantial cheque to help with urgent repair works to the ceiling of the Quire. It was noticeable that the cathedral bells were not chiming on St. David’s Day morning, no doubt a precaution at this time of crumbling roof masonry. Prayers were said for a swift restoration to the problem; and in a purely spoken service, held at 4pm on the eve of St. David’s Day, other more personal prayers – for family, loved ones, peace in our troubled world etc., – written on small sheets of paper, each imprinted with the emblem of St. James’s pilgrimage shell and left on a silver plate, were unfolded and read aloud.

A glow of early springtime sunshine filled the cathedral – wide, broad, crystal-clear light, all of a sudden, no longer the mean, cramped, cold rays of winter. It really did feel, especially with the daffodils in the cathedral grounds as golden as the cross of St. David, as if the seasons had changed before our eyes. And the sea, viewed from the clifftop at St. Non’s well, sparkled in the westering sun, but had all the stillness of well-water. Earlier, en route to the cathedral, not far from Fishguard, a bank of white cloud, far out at sea, resembled the gigantic cliffs of a lost landmass. I imagined the probable reaction of mediaeval pilgrims to such a sight – a miracle on the horizon, people pausing, fingers pointing at a sign of God’s grandeur.

The Bishop and Dean of St David’s, and the Mayor of the city, addressing the pilgrims. Image@ Stuart Millson

The 1st March is a great moment in the life of the small city – a place probably not a great deal larger than my old town of West Malling in Kent – but ennobled and important, far beyond its physical size, by its heritage of Celtic Christianity; by the cathedral cradled in its valley, and overlooked by what appears to be the strange, craggy tip of an extinct volcano. No city should ever be allowed to be larger than St. Davids. The streets, filled with pilgrims, or visitors who just happened to be on holiday on the day of the devotions – folk dressed in historic costume – children parading with dragons and (later in the day) a band evoking a Mardi Gras procession in Louisiana – the Bishop, Dean and Mayor at the Market Cross addressing the citizens, as the breeze caught the large Red Dragon flag of Wales – everything felt right, in its place.

It is important to come away from a pilgrimage with that ‘God’s-in-His-heaven’ feeling.

Far pavilions

CHRISTOPHER SANDFORD remembers English cricket’s 1945 resumption

In early April 1945, even while Hitler remained alive, directing phantom armies from his bunker beneath the Reich Chancellery garden in Berlin, the impressively insouciant English cricket authorities decided it might be possible to stage a number of Test-level matches with Australia during the course of the summer.

The ensuing ‘Victory’ series presented its organisers with a significant feat of logistics. Many of England’s cricket grounds bore the scars of Luftwaffe bombing, while there was also the small matter of securing the services of eleven fit men to put into the field. Two of the nation’s leading prewar bowlers, Yorkshire’s Hedley Verity and Essex’s Ken Farnes, had fallen in action, while others had returned from years of captivity in far from ideal condition to play representative sport.

An especially poignant example was that of the repatriated 36-year-old Yorkshire player Bill Bowes. Tall and bespectacled, with a shock of wavy blond hair, the fast-bowling Bowes looked more like a gangling Nordic university professor (and, it was unkindly said, sometimes batted like one) than a professional sportsman. He represented his country 14 times before the war and just once afterwards, having lost over four stone in weight as a guest of the German Reich in the interim. Delaying his comeback until the middle of June 1945, Bowes managed to bowl nine overs for a Services team, following which he promptly left the field to be physically ill in the pavilion.

Later that month, we find him writing to the English selection panel, which had enquired about his availability for future matches against Australia, in a letter preserved in the archives at Lord’s:

Dear Sirs:
The weather up North has been so bad that last Saturday was the first time I have had a decent bowl – it was short, but I haven’t recovered yet – and even as I write it is again raining.

I met [fellow cricketer] Les Ames on Sunday, and if I had forgotten he refreshed my memory of those long Eng. v. Australia matches when he told me how tired he was after the first day. I feel tired now after only a few overs, and if I had to bowl again, and then again, well, quite frankly I do not yet feel equal to it …The doctors tell me that it is ridiculous of me to expect to get over a three-year period of under-nourishment in three months, so will you please consider me very doubtful for inclusion in any team?

Such was one example of the human cost of Hitler’s ruinous attempt to determine the matter of who might be allowed to live freely in Europe.

In the measured words of the 71-year-old Pelham ‘Plum’ Warner, the man primarily responsible for selecting the England team: “The project [of a 1945 series] seemed sound when initially advanced to me, but it proved harder to effect than ideal” – particularly at a time when such men had none of the benefits of our modern communications technology at their disposal. If Warner wanted to correspond with someone like Bill Bowes about a matter such as their availability to play cricket for England, he did so by writing them a letter, putting it in an envelope, affixing a stamp, taking it to the nearest pillar box and then awaiting developments. “It was not a task I [had] undertaken in the full awareness of the actual burden it might present,” Warner was later to ruefully admit.

Walter Hammond, circa 1930

Not the least of the matters demanding Warner’s attention in April 1945 was the question of who might captain England in the hastily arranged series with Australia. The peerless Walter Hammond had been the man in charge for his side’s last Test fixture before the war, a drawn match against the West Indies at the Oval. Hammond himself was clearly the best batsman England had produced since the Jack Hobbs era of twenty years earlier. Yet doubts about his fitness to ‘continue to assume the high honour of the England Test Match captaincy’, as The Times put it, remained. Hammond was then nearly 42, somewhere between muscular and heavyset, a chain smoker and a martyr to lumbago, with a love life that attracted a certain amount of what passed for tabloid scrutiny in those more reticent times. He had joined the RAF on the outbreak of hostilities, but in the event found himself playing a good deal of sport, and occasionally training new recruits, rather than assuming any more active role in Hitler’s downfall, while also coming to resolve a complicated home life that led to the terse Press Association report: “A decree was granted to Mrs. Dorothy Hammond, wife of the England star. Misconduct was alleged with a woman named Harvey.”

Hammond was perhaps fortunate, even so, to enjoy Pelham Warner’s unstinting respect and friendship, which had something of a father-son quality to it. In that elaborately formal age, when even routine business letters tended to open with phrases such as “Sir, I have the honour to state that consideration has been given to the matter of your application for overdraft facilities at this institution …,” and were topped-and-tailed either by the use of precise titles, or merely by surnames, the Warner-Hammond correspondence preserved at Lord’s is invariably of the ‘Dear Wally’ and ‘Yours ever, Plum’ variety.

Like Warner (the youngest of 21 children born to the-then 67-year-old Attorney General of Trinidad, where he, Plum, spent his early years) Hammond had grown up abroad. His father, a corporal with the Royal Artillery who seems to have been of the opinion that children should be brought up in mild fear of their parents, was posted successively to Hong Kong and Malta. The family returned to England just before the First World War, and Walter, an only child, was sent to boarding school. His father was killed fighting in France in 1918, and his mother seems to have been more concerned with her social status than in the daily welfare of her young son. She handed him over to tutors during the school holidays, starved him of love, and on the occasions they did meet beat him regularly. It’s surely not stretching psychology too far to conclude that this upbringing turned Hammond into something of a loner and a bully, “a dreadful little shit” as he admitted years later to a younger colleague, none of which should in the least detract from a proper acknowledgement of his obvious skills as a magnificent all-round cricketer.

After seventeen years as a professional player, Hammond had turned amateur in 1938, largely because this was then thought to be the proper status befitting England’s national cricket captain. The move gave him the curious distinction of leading out the notionally unpaid ‘Gentlemen’ in their annual grudge match against the more horny-handed ‘Players’ at Lord’s, having done the honours for the Players in an earlier fixture. But even someone as well versed in the nuances of the British class system as Hammond could perhaps mistake widespread respect for his sporting skills for broader social acceptance. Cricket has a way of finding the truth about people, and the evidence suggests that although the incumbent England skipper might look, behave and sound not unlike a proper gentleman, that did not necessarily mean that he would be universally treated as one. Hammond was and remained, in the blunt terminology of the day, ‘in trade.’ Walter Robins, a Lord’s grandee whose own personal charm came equipped with a sensitive on-off switch, once referred to him as “a jumped-up car salesman,” while the Clifton and Cambridge-educated Basil Allen, Hammond’s predecessor as captain of Gloucestershire, was on ground well beyond that when he spoke of his dislike of a “moody bugger” who took “no interest in other people’s lives unless they happened to be pretty girls.”

The author David Foot quotes an exchange of views on the subject between Allen and Pelham Warner while seated together at a match at Lord’s: “Basil, that Wally Hammond of yours really is a wonderful chap, isn’t he?” “If you want my honest opinion, Plum, I think he’s an absolute shit.”

Nonetheless, Hammond would duly return to lead England in the five Victory matches against Australia in the summer of 1945. The series was eventually tied two-all, with one draw, and huge crowds flocked to each of the 15 days’ cricket despite the generally atrocious weather. Hammond himself finished with a total of 396 runs, scored at an average of 46 that most modern players would kill for. It says something for his technical prowess that certain critics would interpret even those figures as evidence of his waning powers. A lesser batsman would consider them highly creditable, and of the century the England captain scored in the series’ second match, at Sheffield, the Wisden correspondent wrote: “The finest game of the season was memorable for a wonderful hundred by Hammond on the opening day, when the pitch was at its worst. He never neglected a scoring opportunity.”

The 18-year-old batting prodigy John Dewes was one of a trio of hitherto unknown schoolboy cricketers, alongside Donald Carr and the Honourable Luke White (always so rendered on the scorecards of the day), who to some surprise – including their own – found themselves asked to represent England in the summer’s third international fixture, played at Lord’s. Forty years later, Dewes remembered what had happened after he and his fellow debutants were summoned by the captain to join him at the White City dog-racing track late on the Saturday evening of the match.

“’When we got there,’ Dewes recalled,

“…we all sat down to a meal in the stadium, which was packed like Wembley on Cup Final day, the skipper at one end of the table, one or two others in the middle, and the three new boys down at the end. It was a bit like being back at school again. Then the racing itself began. From then on for the rest of the night we were basically Hammond’s runners. ‘Dewes!’ he’d call out. ‘Put a quid on dog number 5 for me.’ I’d walk up, collect the pound from the skipper, go to the window, pass it over, then go back and hand Hammond the slip. His dog didn’t win. Next race it was the same thing, only this time the skipper shouted: ‘Carr! Put this down on number 4,’ or whatever it was. And Carr did that. Hammond kept that up for about six races, alternating between the two of us, I might add with never a winner among them, and then on the final heat he shouted out ‘Mr. White!’ as if just now remembering his name. And Luke White said ‘Yes, sir?,’ went up, took the skipper’s money, passed it through the window for him, and trotted back with the slip. Still no joy for old Wally.

‘I suppose we could have objected,’ Dewes continued. ‘After all, putting money down on the greyhounds had nothing to do with our duties as Test cricketers. It would probably qualify as a sackable offence by modern standards. But that’s how it was in those days. I should say that like everyone else I admired Hammond the cricketer to the ends of the earth. He was one of the true giants of the game. But he could also be pretty snooty to those he deemed to be small fry, including some of his own teammates.

It’s a strange thought that while he and his fellow countrymen were playing representative cricket, the great Australian all-rounder Keith Miller was also still an on-call RAAF pilot attached to 169 Squadron at RAF Great Massingham that summer. There were rumours as late as the middle of July that his unit would be deployed to Burma to help fight the Japanese, and in the meantime, like other sportsmen-warriors, he continued to lead an almost clinically schizophrenic double life between the cricket field and the cockpit of a Mosquito fighter-bomber, dispatched on reconnaissance missions at the pleasure of the squadron’s commanding officer, Wing Commander Neville Reeves. In time, Reeves came to find his admiration for his famous subordinate’s undoubted coolness under fire tempered by certain reservations about his relaxed approach to military discipline, while Miller in turn found his CO tiresomely “tight-arsed.”

The Royal Australian Air Force cricket team, 1945. Keith Miller stands third from right, back row

One untypically warm and dry afternoon in late July, Reeves ordered an unimpressed Miller aloft on a training flight, while, as if to rub salt into the wound, he took several of the other men under his command to practice in some cricket nets set up just off the end of the base’s main runway. Soon enough, Miller’s green-and-white camouflaged Mosquito appeared overhead. It did not go unnoticed by his colleagues on the ground that the plane’s starboard engine appeared to be on fire, and that thick clouds of smoke were pouring past the fuselage. There had been a mechanical malfunction of some sort, and now the plane spiraled down at a sickeningly steep angle for what seemed from the ground to spell certain doom for both Miller and his navigator, who were already far too low to bail out. ‘It looked like curtains for them both,’ Reeves later confirmed.

Back in the base’s control tower, Miller’s unmistakable voice came over the intercom. ‘I’m sorry, boys,’ he announced evenly, ‘but the plane’s buggered.’ As if in illustration, a few seconds later the Mosquito ploughed into a field just opposite the nets, its port wing shearing off in a ball of fire when it hit a steel fence post. Emergency vehicles raced to the scene, with Wing Commander Reeves at the head of an animated posse of men in cricket whites following close behind. By some twist of fortune, both the plane’s occupants were able to hurriedly unstrap themselves and walk away from the burning aircraft seconds before its fuel tanks exploded in a spectacular plume of jet-black smoke, with shards of twisted metal and bursts of sparks shooting up like an early fifth of November firework display. Wiping the grime from his face, Miller looked at the flannel-clad airmen gathered anxiously around him, nodded back to the smoking wreckage of his plane, and remarked casually, “Nearly stumps drawn that time, gents, I think.”

The Australian team left England in the middle of September that year in order to continue their progress homeward by way of a further series of matches in modern-day India and Pakistan. The actual results of their English tour, impressive enough in themselves, were perhaps of secondary importance to the part the whole venture played in bringing a semblance of normal life back to a public so hungry for its resumption. The tourists’ manager, Keith Johnson, caught some of the essential mood of the occasion when it came time to pay tribute to his team’s hosts. “I would like to say thank you to the cricket administrators, the cricketers and above all to the great cricketing public of Britain,” he remarked. “The matches this season will always be a pleasant memory to us, and if we have in any way contributed to the rehabilitation of the English way of life, then it was our honour and our pleasure to do so.”

Walter Hammond himself retired from cricket after a generally unhappy final tour of Australia over the winter of 1946-47, and in time emigrated with his second wife to South Africa. The popular consensus on him was that of a dazzling youthful talent – deemed by one critic to be the ‘Nijinsky of cricket’, almost spoilt by fortune – who later bloated in his Durban exile like Elvis Presley at Graceland. It’s a caricature, if one with a grain of truth. In February 1965, the England cricket team was playing a Test match down the coast at Port Elizabeth, and happily agreed to pass round the hat in order to take their old skipper out to dinner. In recent years, Hammond had both lost his job in the motor trade and been involved in a serious car crash, events that possibly served to further darken a personality already prone to the choleric.

The England wicketkeeper John Murray remembered:

We got to the hotel and there was Wally waiting for us. Everyone said a cheery hello and we told him we just had to nip in to another room to shake some hands, but that we’d be right out again and on our way to a slap-up meal. When we got back fifteen minutes later, Wally was gone. He left a note behind. It said he’d never been so insulted in all his life by our behaviour in making him wait for us. “I am a former captain of England, and you buggers have dishonoured the office” was the gist of it. He died just a few months later. All very sad.

Walter Hammond was just 62 at the time he suffered a fatal heart attack in July 1965. It may be unfair to judge him from a modern perspective in which it’s no longer fashionable to admire reticence, not to mention a certain hauteur, in our sporting heroes. But there were periods in the 1930s when Hammond was the complete cricketer, a batting genius who on his day was also a useful seam bowler and an electrifying slip fielder who once held 78 catches in a season, ten of them in a single match. He was beyond doubt the man best qualified to lead England in the series that did so much to restore a sense of sane, normal life in that summer of 1945. I continue to think of him as one of the nation’s greatest ever sportsmen, if also as a man who sometimes struggled to make taking an interest in lesser mortals seem less of an obvious burden.

The Bishop in winter

Derek Turner is the editor of the Brazen Head, and the author of the cultural history/memoir Edge of England: Landfall in Lincolnshire (2022). He has written for journals including the Spectator, Country Life and the Guardian, and his poetry has appeared in Quadrant.

Robert Grosseteste, Bishop of Lincoln between 1235 and 1253, was one of the great intellectuals of thirteenth century Europe, and is seen as one of the founders of modern science. He was a poet, preacher, translator of Aristotle, writer of instructional and theological works, and the first English intellectual to think seriously about the nature and physical properties of light. His writings on light were a major influence on Isaac Newton, and are still read today by physicists as well as scientific historians

The Bishop in winter

Back to the city with last of the light

With blackbirds in blackthorns heralding night –

Death under branches, dun season of dearth,

As cold beyond cold beads the East Country earth.     


The Bishop’s steed stumbles, his secret’ry starts,

As their party picks home from farthest-flung parts,

Hoping for hearth as sky’s black flag unfurls,

To swallow all sinners in unfeeling world.


Dark thickens, air thins, numbs fingers and feet,

As steely shoes clink along once-Roman street –

Miles yet to go under stars sharp as swords –

Moon chills still waters at bitter-bleak fords.


But the Bishop sees brilliants – bright spangling gems –

As Greeks once glowed great through his wide-angled lens.

(Ancients who asked of the nature of things

Set fire in the mind of the man with the ring.)


Stars prick the plain and shoot among planets,

Strewn shining diamonds on blanket of jet;

Broderies worked in black covering cloths,

Showing the road for benighted and lost.


Chains of bright Being, strung tapers of Truth,

Worked by great Hand in Universe youth;

Divine by design, O celestial flame,

O Artisan fine, all praise to Your name!


All rays can illumine if seen the right way –

Rushlights for reading, brave bright of broad day,

Flames on friends’ faces, oriflamme of bird’s bill,

Glass that spills sun in his church on the hill.


Tomorrow will stride across seas, swamps and fields,

Gilding all lands as the beaten black yields –

Sun of The Son, most golden of forms,

The world by the Word made suddenly warm.


But now the old Bishop, out here in the dark

Must ride through the small hours bearing his spark –

He shivers, considers new treatises great

And longs for Cathedral, his lamp in the waste.                                                           

For Two Old English Poets

A. Z. FOREMAN is a poet and translator pursuing a doctorate in Near Eastern Languages at the Ohio State University. His work (both original compositions as well as translations from Arabic, French, Persian, Chinese, Latin, Occitan, Ukrainian, Russian, Hebrew, Welsh, Irish and Yiddish) has been featured in the Los Angeles Review, ANMLY, Asymptote, La Piccioletta Barca, Ilanot Review, Lunch Ticket, Metamorphoses, the Penguin Book of Russian Poetry and elsewhere. But really he’s most proud of having had his work featured in two people’s tattoos, and if you have a dog he’d love to pet it

For Two Old English Poets

              Beowulf Poet

              Oh have I heard of You before and yet

little about You other than Your tongue

of Marchen steel and a monk’s two-edged song

for God the Weird. Your heart let heathens fret

limbs off Cain’s kin. Your blood is red sunset

on Woden hanging Christlike. Tell again

of Yeatland’s thane and freaks who prowled the fen.

Let Beowulf burn and burn till I forget

              to ponder You, drop from dried floods of lore

rephrased molecularly into fame

who knew why Heorot fell to barbarous flame,

and what the Wolving chief was murdered for.

Dear last survivor of Deor’s shattered scene,

what would You have these monstrous treasures mean?

              Deor

              All of it passed. Your Wayland in the snows

eaten with frost and anger, your love-quick

Mathild, mad Thedrick, wolf-mad Armenrick…

Their English stories were a spring-starved rose,

which leaves us here to thresh their cameos

in you like lighting candles with no wick

or parsing ravings of a lunatic

in a half-cognate language no one knows.

              You are a name now and refrain, a true

bard in eternal exile, wandering

papers of scholars as they scratch for rue

to bleed beneath the wistful scab you sing.

              Your hurt song may have made whole legends ring

but they have passed. So too has most of you.

Deor    

Translated from Old English

              a translation for Christina von Nolcken

Wayland in Wormland went through harrows,

The strongminded smith suffered in exile.

Worry and longing  walked beside him,

winter-raw anguish. He ached for escape

after King Nithad cramped his sinews 

and bound a slave of the better man.

              That passed in time. So too can this.

To Beadild’s mind her brothers’ deaths

weren’t as wounding as what she faced

herself when she came to clearly see

that she was pregnant. That princess unwed

could not handle what would become of her.

              That passed in time. So too can this.

We know the tale   of tragic Mathild.

the Geat bore her a bottomless passion,

all sleep banished  by a baneful love

              That passed in time. So too can this.

Tyrant Thedrick for thirty winters

ruled the Mearings, as many know.

              That passed in time. So too can this.

We have all heard tell of Armenrick

and his wolfsick mind. He was one cruel king,

That overlord of the outland Goths

whose state was set in strung-up hearts 

as strong men sat in sorrow-chains

awaiting the worst, and wishing so much

for a foe to liberate the land of their king.

              That passed in time. So too can this.

A man sits mournful, mind ripped from joy.

His spirit in dark, he deems himself

foredoomed to endure ordeals forever.

Then he may think how throughout the world

the Wise God goes and works around:

meting out grace, mercy and certain

success to some, suffering to many.

              Of myself I want to say just this:

I was high poet  to the Hedenings once,

Dear to my master. ”Deer” was my name.

For many winters  I was a man in that hall

And the heart of my lord. But Herrend came

And reaped the riches and rights of land

That guardian of men  once granted me,

And stole my place  with a poet’s skill.

              That passed in time. So too can this.

This poem refers to stock characters — real and fictional — from Germanic lore. Some of the figures are now obscure, and those that aren’t are not known directly from Old English versions of the story. I have modernized many of the names in my translation, giving them forms that would be plausible as Modern English versions of the name. The biggest exception is Wayland, whose Old English name would actually have been Weeland or more likely Weland had it survived into the modern period. Wayland (Old English Wéland, Old Norse Vǫlundr, Old High German Wiolant) is barely attested in English written sources, though there are visual representations of him. He was a legendary smith renowned for his metal working ability. From Norse sources it emerges that he was forced to work for Nithad (OE Niþhad, ON Níðuðr) who hamstrung him to stop his escape, and that he avenged himself by killing the king’s sons and impregnating his daughter Beadild (OE Beadohilde, ON Bǫðvildr). Mathild and Geat are totally opaque. They appear to be famous lovers that met a tragic end, like Romeo and Juliet, or Layla and Majnun. The ablest guess is that they correspond to Magnhild and Gaute of a Scandinavian ballad tale recorded in the 19th century, but even if so the story as it was known to the poet’s English audience may well have differed greatly from the version known from Scandinavia a thousand years later. Thedric is Theodoric, the Ostrogothic emperor who ruled in Italy from 493 to 526. Armenric is Ermanaric the Goth, another famous tyrant.

Lament of the Last Survivor (Beowulf 2231-2270)

Translated from Old English

              a translation for Nelson Goering

There was such ancient wealth in that earthen vault.

In an age long past, with an end in his mind,

someone now nameless had known to hide

his dear treasure in the darkness here,

the heaped legacy of a highborn race

at dynasty’s end.  Death already

had taken them all in times gone by,

and left just this one: the last warrior

of a fallen line whose fate he mourned,

expecting the same. This sad watchman

knew that ageless hoard would be only his

to enjoy briefly. The barrow stood

built and waiting  by the breaking waves

crafted for safety, set on the headland.

That keeper of rings  then carried in

all the gold-plated  goods he had there

worth protecting.  His words were these few:

    “Hold now, O earth, what heroes cannot:

Wealth of warriors. It was worthy men

who delved it from you. Death in battle

has mowed them down. Mortal horror

has made away with the mortal souls

of each of my clan who have quit this life,

the hall-mirth of knights. Nobody’s here

to bear me a blade or bring my cup’s

burnished meadgold. My band moved on.

The hard helmet hasped in goldwork

must lose its hoop. Helm-shiners sleep

that once burnished my battle-mask.

War-coats that braved the biting steel

when shields burst wide will be worn to bits

with their brave wearers. The whorled hauberk

will wander no more on the warchief’s back

in a battle band.  No more brilliant harp

with timbered tune, no trained falcon

swooping the songhall, no swift-hoof horse

prancing the courtgrounds. Plundering carnage

ousts whole peoples out of existence.”

   So he mourned who survived, remembering hurts,

alone after them all, aching and maundering

for days and nights  till death’s tide reached

his beaten heart. 

This passage is traditionally known as the Lament of the Last Survivor, and it is one of my favourites from the poem. The hero finds treasure in the hoard left by a man of a vanished nation, the last of a people who lived even before the Migration Era in which the poem is set. The Beowulf poet elsewhere alludes to a number of legendary episodes (often from stories that are now unknown apart from their oblique mention in this poem), and normally names the participants. Sometimes that’s all he does. The audience would be expected to know, for example, who Hrothmund, Heorogar and Heoroweard were (the former two names are completely unknown outside of Beowulf, and the latter only from Scandinavian material). This larger narrative context gives point to the fact that the man here is completely anonymized. With no one left to carry on the tribe’s history, the whole heroic ideal of immortality through imperishable fame (or, if you like *léwos *ń̥dʰgʷʰitom) is meaningless. His name is dead, and so too should his story be. And yet, the story lives in this poem. We are hearing a story we ought not to be able to hear. Invited to consider how many tribes and nations have simply disappeared and left not so much as a name, we imagine a memory we cannot really have. The man himself has no use for the treasures of his nation now, and so decides to bury in a hoard. With no one left to talk to, he addresses himself to the earth as it receives his tribe’s now-meaningless treasure.

Contemporary classics

Harvesting on the Sussex Downs, by John Charles Dollman.
Image: Wikimedia Commons

Part of the pleasure (or occasionally, the necessary discomfort) of reviewing music, is to find unfamiliar works and composers – in genres, perhaps, not entirely to your taste – and embarking upon a process of self-training – dismissing your prejudices, trying to clear your mind and hearing the music as if it is the first music you have ever heard. Of course, the exercise is nearly impossible, but there are occasions when you genuinely begin to find an attraction to something that, hitherto, you might never have listened to.

The first such CD in this month’s review pile fits into the latter category: the chamber music of Justin Connolly (1933-2020) – an overlooked figure even in the realm of contemporary music, who, in the late-1950s came under the wing of Roberto Gerhard (composer of the choral-orchestral The Plague) and symphonist, Peter Racine Fricker.

Connolly, who became a teacher in his own right, developed what could be described as an astringent, even hard style, something which can be found and felt in a three-movement String Trio (Op. 43) – a work which might complement a Britten String Quartet, or the quartet by Stephen Matthews (a tonality-challenging work given some years ago at the English Music Festival).

Yet there is much light and shade in the score, and it would be fair to say that Connolly, like Britten, in his quest for a pure form of music, did not turn his back entirely on folklore. In Ceilidh, Op. 29, written with younger musicians in mind and performed in the US during the country’s bicentennial celebrations, the composer retains his customary ‘gimlet focus’ on technicality, but hints at an old-world atmosphere with movement titles such as, Gathering, Dordfiansa (spear-clashing dance), Night, and Four-hand reel. Recorded in venues as various as the Royal Academy of Music and the studios of the Australian Broadcasting Company, Melbourne, the passionate devotee of contemporary music and audio perfection will find the Justin Connolly collection essential listening.

Another contemporary-music CD – Distant Voices, New Worlds, Songs, Landscape and Histories – brings together the Sky Rhythms of Ed Hughes, Shirley J. Thompson’s Hymn to the Evening, Evelyn Ficarra’s What Larks, and Rowland Sutherland’s Modes from the Downs (the latter two pieces, both written three years ago).  In Sky Rhythms, Ed Hughes adapts words taken from the Mass Observation Archive Day Survey, from 1937 – an interesting and involving weaving together of everyday thoughts, worries concerning the world situation, and an evocation of Sussex – of England. Here are some extracts (the words of one, Mary Robinson):

I live in a seaside bungalow town, in a furnished bungalow,

Very small and draughty,

but fortunately,

looking out across open fields and country

to the South Downs…

… To the news’ agents

Daily Herald Placard

Stalin might do something to make our bread dearer

Further depressed by news in paper

which hopes that England will not let France down…

… The air is splendid,

we get whatever sunshine is going,

and witness superb skyscapes,

Felpham, where Blake lived, is near…’

A modern ‘Lark Ascending,’ a contemporary ‘Land of Lost Content,’ a ‘Paradise Postponed,’ or the paintings of John or Paul Nash, Evelyn Mary Dunbar, John Piper, Eric Ravilious – all of these thoughts and associations came into my mind in this strongly modern setting, which includes electric guitar, as well as flute and clarinet. Expertly performed, this production by Sussex musicians (ensembles, The New Music Players, The Orchestra of Sound and Light) shows that the landscape inspiration in our artistic DNA is unbroken.

A mellow tonality of summer warmth and wandering can be enjoyed in Shirley J. Thompson’s An Hymn to the Evening (a setting of Phillis Wheatley, from the eighteenth century) and in Matthew Sheeran’s Languet Anima, in which echoes of fourteenth-century music gently appear and drift for an all-too-brief three minutes — a piece reminiscent of modern orchestral settings of Byrd or Dowland.

Finally, to the music of Arthur Butterworth (1923-2014), a one-time player in the Hallé Orchestra (incidentally, his signature appeared, alongside that of his orchestral colleagues on the score of Vaughan Williams’s Eighth Symphony – premiered by Manchester’s great orchestra) – but he went on, not in the orchestral ranks, but to forge a career as a composer.

Windy Hill, on the Pennine Way. Image: Jooniur, Wikimedia Commons

Not for Butterworth, though, the challenges of atonality, the abandonment of convention by the brave, new ‘Manchester School’ of Maxwell Davies, Goehr and Birtwistle. In Butterworth, we are taken by the hand, rucksacks on our backs – as if by a musical Wainwright – to the peaks and tarns of the North, in a rhapsodic, but never sweet or self-consciously nostalgic survey of sky, rock, scrubby path, rainfall, tufts of moorland grass vibrating in the wind, and eerie, supernatural forest shadows. The Fifth Symphony from 2001-2; Three Nocturnes, Northern Summer Nights; The Quiet Tarn; The Green Wind – the listener will revel in the Sibelius-like passage of clouds, the full use of the late-romantic orchestra (with some gorgeous harp moments) and a sense of escapism, dreamy altitudes, and communing with Nature. As Butterworth proves, not all contemporary music has to conform to one standard. And as the South Downs composers also reveal, modernism need not be removed from a wider audience.

CD details: Justin Connolly, Music for Strings (plus…), metier label, mex 77209; Distant Voices, New Worlds, metier, mex 77131; Arthur Butterworth, Symphony No. 5 etc, Dutton Epoch, CDLX 7253. Royal Scottish National Orchestra conducted by the composer

A great piling up of colossal ideas – the Eroica

Beethoven’s mask by Lucien Levy Dhurmer (1906)

There was a time when I never thought of visiting YouTube, believing it to be full of cat videos uploaded by doting owners. Later I discovered my error – it was, in fact, full of a wide range of pointless videos. Then I came to discover that there are many worthwhile grains to be found among the chaff and Eroica is surely one of them. I think myself exceptionally fortunate to have accidentally discovered this British film, and this is my justification for reviewing something made over two decades ago, in 2003.

Eroica is a dramatisation of the first, private premiere of Beethoven’s third symphony, the ‘Eroica’ or heroic symphony. The film’s most remarkable feature was the brave decision that saw the full symphony – all 49 minutes of it, plus a little bit of Mozart – incorporated into a film that is only 83 minutes long. This might seem to leave little time for any drama as well: surely the drama – the main plot and an amorous sub-plot – must cease when the music commences? That this is not the case is due to the excellent screenwriting of Nick Dear, the intelligent direction of Simon Cellan Jones, and the emotional sensitivities displayed by the cast. And, of course, the very fine playing by the Orchestre Révolutionnaire et Romantique, conducted by Beethoven in the film, and by John Eliot Gardiner ‘behind the scenes.’ As a result, music and drama become inseparably fused throughout the film.

It might be best to sketch briefly some of the known facts relating to the private premiere of Beethoven’s third symphony. As we shall see, it should perhaps be called the first rehearsal, rather than the first performance.

Eighteenth century view of the Palais Lobkowitz in Vienna

It was held in June 1804, in the Vienna palace of the Bohemian nobleman Prince Joseph Franz von Lobkowitz, one of Beethoven’s principal patrons. It took place in a small hall – still known as the Eroica Hall – usually reserved for chamber music, but which could accommodate over two dozen musicians and guests. Lobkowitz was born with a deformed hip, and needed to use a crutch all his life. As a young man he inherited a fortune in money and estates and was known for his lively disposition and warm-heartedness. He was also renowned for his extreme passion for music, employing his own orchestra and chorus – a passion that was ultimately financially ruinous to him. As Count Razumovsky, a Russian nobleman and ambassador in Vienna, later noted: This Prince was as kindhearted as a child and the most foolish music enthusiast. He played music from dawn to dusk and spent a fortune on musicians.”

A cynic might say Lobkowitz squandered his fortunes on music; I prefer to think that he sacrificed his fortunes to music. Certainly it was he, and a small number of other patrons, who gave Beethoven the financial security to devote himself to composition.

Rehearsals were unusual for symphonies at that time. Professional musicians were expected to give a competent performance by sight-reading the score – even at a premiere. The ‘Eroica’ was different however: almost twice the length of a conventional symphony, the complexity of the score and Beethoven’s perfectionist attitudes rendered rehearsal imperative. The – thankfully private – premiere rehearsal/performance did not go well. With Beethoven himself conducting, errors crept into the playing.

However, one of the most famous incidents came when Ferdinand Ries, pupil and friend of Beethoven, interrupted the playing when he incorrectly thought the horns had come in too early. As Ries recalled: “’That dammed hornist,’ I said. ‘Can’t he count. It sounds frightfully wrong. I nearly got my ears boxed and Beethoven did not forgive me for a long time.’”

Joseph Haydn, revered as the Grand Old Man of music in the early 1800s, arrived at the palace in time to hear the final movement of the symphony, and to make a number of prophetic comments about it.

The public premiere did not take place until April 1805. We may be certain that the orchestra was properly rehearsed this time, but the length, scope and sheer power of the piece, especially the first movement, was too much for some. One member of the audience was infamously heard to cry out: “I’ll give another kreuzer [a copper coin] if the thing will only stop!” There was muted applause at the end.

So much for history; what of the drama? It is a sad fact of life that film and TV dramatisations have rarely more than a nodding acquaintance with historical reality. All too often dramatists, whether through ignorance, an ‘agenda,’ or a desire to ‘jazz things up,’ see no reason to let reality get in the way of a good drama. A bit like newspaper editors never letting the facts get in the way of a good story! Thankfully there are few such blemishes here, and when they occur they can be excused on the grounds of dramatic licence. A few examples should however be mentioned.

Wenzel Sukowaty, Beethoven’s copyist, rushes in shortly before the performance is due to start to give out the sheet music to the orchestra. Cue much baffled incomprehension from the players – “The fingering. Have you seen bar 34?” and indeed, “Bloody hell.” The copyist quietly explains to Prince Lobkowitz, “The piece is a monster… It may not be music at all.”There are a few false starts when Beethoven commences conducting, and he has to explain that the orchestra are to play ‘sforzando,’ attacking each note, for maximum intensity. The sad plea “Can’t we play a bit slower?” is answered with a resolute no. However, from then on the orchestra sight-reads, at first time of asking, a piece that is exceptionally long, complex and not like anything they have played before, without error.

This is surely not what happened in real life, but – and this is a huge but – it means we get to hear the Eroica as Beethoven wished it to be heard, played on historically authentic instruments by a first-rate orchestra, under a leading conductor, fully in sympathy with the music. If dramatic licence is not forgivable here, then when is it?

More examples of such licence may be given. The long-suffering Ries does indeed interrupt the playing, leading to a volcanic eruption of rage from Beethoven, but did he really cry out, “Piss off!” to his hapless apprentice, in front of Prince Lobkowitz and his assembled guests, many of them ladies? No doubt Nick Dear, the writer, felt it necessary to ‘update’ the language for 21st century ears. One can only say, O tempora, O mores…

Finally, towards the end there is a ‘flash-forward’ scene when Beethoven and Ries visit a tavern after the performance. Ries there discovers from a friend that Napoleon has declared himself Emperor. He nervously informs Beethoven of this, knowing that Beethoven was a great admirer of Napoleon, regarding him as an embodiment of republican virtues. Beethoven, in a towering rage, rips out Napoleon’s name from the dedication to him on the front page of the manuscript score. Historical accounts vary slightly but it would seem Beethoven did hear of Napoleon’s declaration from Ries, and he did destroy the dedication to Napoleon, but probably not immediately after the premiere performance. This is, of course, why the third symphony is called the Eroica symphony, and not the ‘Buonaparte’ symphony as originally planned. A little dramatic licence is surely excusable here.

These minor quibbles aside, what are the most noticeable virtues of Eroica? Apart, of course, from the exquisite playing by the orchestra. First and foremost Eroica is superb in its exploration of the relationship between music and society as a whole: specifically, in this case, the musical revolution that Beethoven is about to unleash against the backdrop of the social and political changes after the French Revolution, and symbolised by Napoleon Buonaparte.

This is, for the most part, done with much subtlety. For example. the film opens with the lead violinist of Prince Lobkowitz’s orchestra playing a piece by Mozart, before the guests have arrived and the new symphony is to be first aired. It is very beautiful piece, calm and serene, but it is not in any way threatening – it will never, as it were, be the backing track to a revolution. Playing it serves as a counterpoint to what will come. No wonder Beethoven laughs on hearing this music on his arrival – he knows just how much of a shock his music will be.

There is much debate about music and its place in society. The opposition to Beethoven, and all he stands for, comes from Count Dietrichstein, a nobleman friend of Prince Lowkowitz. He is very much a supporter of ancien régimes – if you don’t have a title your views scarcely count. Wisely he has not been presented here as an ignorant buffoon. Rather he is an intelligent man but with fixed ideas – fixed about the nature of society and fixed about what music is. Since the feelings and opinions of the ‘lower orders’ count for little he condemns, to Beethoven’s face, the first movement as “Violent, needlessly violent” and “a tasteless intermarriage of the diatonic and chromatic.”

Dietrichstein is however honest: as the symphony progresses, he is clearly emotionally affected. Nonetheless he explains to Beethoven,

That wasn’t bad. It’s not a symphony though… The symphony has a structure. This is a formless mass. A mere arrangement of noise. A great piling up of colossal ideas. It’s very moving. In parts it has elements of the sublime. But it is also full of discord… But it is not what we call a symphony.

Mozart can be enjoyed by Count Dietrichstein – it does not threaten his musical tastes or the social order he inhabits. He simply does not understand the Eroica – and we are all unsettled by that which we do not understand. But he does understand that this is new music, which challenges the established musical order, and he worries that he does not know what the broader impact on society might be.

Beethoven is in more congenial company among the lower orders: he joins the members of the orchestra as they enjoy a mid-symphony lunch break. They discuss Napoleon: is he a threat or a liberator? Should he be resisted if he leads an army to Vienna? And will the existing social order continue?

Prince Lobkowitz has long believed that music is not just for the nobility. He is keen to have his servants enlightened and educated by exposure to high culture, thus the sound of Eroica has echoed throughout his palace. Downstairs in the servants’ quarters, an inexperienced footman is discussing it with Gerhardt, a senior servant, evidently one who has received a significant musical education through his years with the Prince:

“What do you reckon to the band, then?”

“They’ve taken the symphony to new heights.”

“Christ, have they?”

Thus the first wholly-unequivocal praise given to Eroica in the drama comes from a servant. Should we be surprised? Probably not.

There is a brief romantic sub-plot, centering on Beethoven’s unsuccessful proposal of marriage to the Countess Josephine von Deym, but most of the film relentlessly focuses on the symphony and reactions to it. Much of the film consists of shots, often quite long shots, of people listening to the music and their reactions, intercut with the sight of the orchestra playing. This depiction of the listening process is surely one of the keys to the film’s success. The facial expressions of members of the audience, variously showing delight, distaste, excitement and incomprehension carry the plot forward without the need for dialogue. There is also the aesthetic benefit that one can enjoy the music without people talking over it. This was quite a risky directorial decision: the slightest trace of ‘ham’ overacting could have left the film liable to ridicule. Thankfully what we got was acting at its best, from the actor playing Beethoven, through to those portraying the assembled nobility and down to the kitchen staff. Every part was played excellently. It would be invidious to single out any of the actors for especial praise – but I fear this is what I must do. Three of the finest British actors demand special praise.

First, Ian Hart as Beethoven. His face is alert, alive, the face of a man who cannot but show all his emotions. From towering rage, to marital disappointment, to sublime joy as he hears his creation come to life, Hart is excellent. As the last of the symphony ends, Hart is left in total silence – a grim foreshadowing of Beethoven’s forthcoming deafness.

Secondly, Tim Pigott-Smith as Count Dietrichstein. His haughty dialogue with Beethoven – always on the verge of verbal fisticuffs – is good, but the unspoken scenes, when he is listening to the symphony, clearly not wanting to like it, yet becoming emotionally affected by it, are sublime. A lesser actor could easily have ruined these scenes.

Finally, Frank Finlay, in a cameo role as a frail, elderly Joseph Haydn, the only man that Beethoven calls ‘Master.’ Arriving late to hear the finale of the symphony his words are a fitting conclusion to this review:

He’s done something no other composer has attempted. He’s placed himself at the centre of his work. He gives us a glimpse into his soul. I expect that’s why it’s so noisy. But it is quite, quite new – the artist as hero. Quite new. Everything is different from today.

Eroica, directed by Simon Cellan Jones, screenplay by Nick Dear. Music by the Orchestre Révolutionnaire et Romantique, conducted by John Eliot Gardiner. Run time: 1 hour 23 minutes

This review first appeared in the St Austin Review (StAR) – St. Austin Review – StAR | Reclaiming Culture – and is reproduced with permission

“The dawn’s early light” – American classical for today

October in the Catskills, Sanford Robinson Gifford, 1880

Kenneth Fuchs is Professor of Music Composition at the University of Connecticut. Born in 1956, Fuchs belongs to a generation of modern composers who, whilst creating a sound-world clearly of our time, have partially turned their backs on earlier avant-garde trends, in favour of symphonic music that is optimistic, open, communicative, cohesive and completely accessible to a wide audience — an important consideration in these times of dwindling arts funding and an audience that is not getting any younger. 

Inspired by a painting by his compatriot, Morris Louis — and entitled Point of Tranquility — Fuchs’s work of the same name is a mind-clearing, subtly dazzling eleven-minute tone-poem of sudden, shimmering sunlight. There is a sense of a sea dancing beneath silvery horizons, of new pages turning in life — or even a return to old haunts, refreshed and renewed after a long period of absence. A masterly deployment of orchestral colour, the Buffalo Philharmonic and their conductor, JoAnn Falletta, set us on course for an album that gives us a further three revelatory scores.

Next comes Russell Platt’s Symphony in Three Movements, inspired again by an artist — this time, Clyfford Still (1904-80), creator of what has been described as “dramatically jagged colour fields” and “abstract expressionism.” This work is the most modern item on the CD, with an outdoor, breath-of-fresh-air tonality sharing the orchestral platform with more dissonant forms, and showing in that exciting brew the tremendous virtuosity and flexibility of the Buffalo orchestra, which emerges here as a top-flight US ensemble. (Why haven’t they been invited to the Proms? Why do we never hear them on BBC Radio 3?)

However — for me — the most intoxicating work on the recording is the Oboe Concerto by Randall Svane (born 1955, although the CD notes list his birth-date as 1972). As a lover of Vaughan Williams’s 1944 Oboe Concerto, I was anxious to hear Randall’s piece — a classic example of new Americana. A composer of church music and late-Romantic symphonic works, with distant echoes of Roy Harris, Samuel Barber or the melodious Howard Hanson, the new concerto begins in a pastoral dream: a long, languid span — a haze — of bittersweet reflection; similar in pace to the opening of Walton’s Viola Concerto. The oboe soloist (in this case the Buffalo Philharmonic’s principal, Henry Ward) clearly believes in the work with all his heart, and hearing this gently-questing, passionate piece makes you believe that a new Vaughan Williams is at work in the world. The three movements are entitled: ‘Flowing,’ ‘Very slow,’ and ‘Quick and light.’ Notice the simple titles, no arcane or technical musical notation, just names that provide an easy guide for listeners, particularly newcomers to classical music.

The album concludes with Chinese-American composer, Wang Jie’s orchestral tour de force, The Winter that United Us — a brilliant Stravinsky-like orchestral showpiece, culminating in a broad, noble, hopeful finale; showing the listener that music can help us to overcome the shadows that pass over our world — in this instance, the Covid pandemic and the suffering and anxiety that forced all of humanity to face up to a common crisis.

Recorded at the Kleinhans Music Hall and superbly recorded by sound-engineer, Bernd Gottinger, I have no hesitation in recommending this collection.

CD details: Contemporary Landscapes, Beau Fleuve Records, 605996-998593. bpo.org

The stricken queens

GAIL WHITE has been writing poetry since she learned to print. She currently serves as a consulting editor to Light Poetry Magazine. Her latest chapbook, Paper Cuts, is available on Amazon, along with  books Asperity Street and Catechism. She lives in the Louisiana bayou country with her husband and cats. 

The Stricken Queens

Taking refuge from the rain

in the Museum of Scotland,

I found them unexpectedly:

the Isle of Lewis Chessmen.

Kings and bishops, knights,

a berserker biting his shield,

dignified, large-eyed, calm,

and then – the masterpiece –

two dismayed ivory queens.

Each holds a hand to her cheek

under a heavy crown

and gazes, pale and aghast,

into her private abyss.


I think of Aud the Deep-Minded,

building a ship in a forest.

Grown rich in thinly-settled Iceland,

She will leave a wedding feast

to lie down and die.

I think of strong Gudrun,

four times married, a woman

powerful in revenge.

And what can a woman do –

after husbands, children, flight,

ambition, revenge –

but gaze dismayed at the past,

appalled at the future,

into her private abyss?

Three poems by Thomas Dupre

THOMAS DUPRE, 29, is originally from Kent, and lives and works in Paris. He has previously published poems or essays (on Ezra Pound and the Troubadours) in Valet and Azure Bell (an online journal), and has recently finished a manuscript recreating Ezra Pound’s 1912 walking tour in Provence and his lost book Gironde

1

A pretty affectation, picked up
Half by accident – follow
The next pen stroke, look-around
See where its leading,

IT is not futile to put a thing in order
Find the right position, nudge
To left, to right, then flicker on
The next correction

To begin a striking image – not
By being struck, but striking well
And never stricken; lucid, calm
All quite yourself, whoever’s writing.

And all entirely private: Wrapped away
Avoiding adulation and contempt, 
Forgetting worldly things, and staring always
Out into at least the middle distance. 

All this proceeds, until at last there is
No crowd, no choruses or seas
Approve or disapprove, or can consider
Worth considering. There is, still, the ticking
Of a broken clock, a budget pen
And sense of moving.

The two poems that follow are loose versions of Provençal models, taking as point of departure poems by Guillaume IX of Aquitaine, Peire Vidal, and Bertran de Born. A sirventes is an Occitan/Provençal satire in verse, often political or moral

2

Out there on the stone porches the eyes fade,
As the wind picks up pace he blows warm,
Routed are the forces of the jealous horde,
Made a detour through to the high walls, brayed
Torn by the harsh scrub through whence I flee dawn,
Floored at the sight of the first light and the watch-call. 

Out there on the stone porches my head bowed,
And the last joy-song of the south-bird
Flitted away on the hot air of the first hour.
Crossed a new path through to the tower-shade, loud
Soothed by the soft words of the dumb girl, heard
It all echoed in the opening of the night flower. 

Out there on the stone porches the gang wait,
And the last white swan on the Lee-main,
Shimmers through the rutted banks and the dull reeds,
Made a sign at the far-light as the night, late
Folds around the flat pan of the dark plain,
Into the smoke-quiet of a new world where the light leads.

And I shall no longer cobble out sirventes,
Because here the law will not allow them.
And I shall no longer sing beside the locked gate,
Before the sudden dawn-glow comes to rend us.
And all the amorous plaints you’ll just reject them,
And wonder that the dawn should start so late.

3

Draw me towards
East-breath of the old land
                        Teeming
            With well-thoughts
I, Begging
            One hundred in the place
Of each word…

Purification of the mind
In her breath,
                        Breath bears slight – 
            Note of sulphur
Dead shore, Rose bound…

Ripe cherry laid on the side-stall,
            Cheap abundant
                        Fly pecked – 
Charged by season
All shout! Demanding water
            End of the water
Night comes,
On will-flats.

No more sweet
                        Encased
            By odd streams,
Find joy
Piled in abundance
Till the grieved laugh.

Trapped by deceitful senses,

No other strength holds
                        In memory
            Lark’s birth
Whelps, sings praises

All
            To be better content
            In a feigned world.

Coo, malignant dove
Awaiting crow’s peck
Lamb soars above pastures,
Better than I remember

No matter how soon the night falls
All found arrayed in the same way
Heads down, chained
Each manacle forged with expectation
The gravest loop; steel,
Pointed and neck-bound
Looks to the here-after
In ‘joyful hope’ which binds
Eternally –