But this was silence,
This was something else, this was
Hearing and speaking though he was a house drawn
Into silence, this was
Something religious in his silence,
Something shining in his quiet,
This was different this was altogether something else:
Though he never spoke, this
Was something to do with death.
And then slowly the eye stopped looking
Inward. The silence rose and became still.
The look turned to the outer place and stopped,
With the birds still shrilling around him.
And as if he could speak
He turned over on his side with his one year
Red as a wound
He turned over as if he could be sorry for this
And out of his eyes two great tears rolled, like stones, and he died.
SIEGFRIED SASSOON 1886–1967
* * *
BASE DETAILS
If I were fierce, and bald, and short of breath,
I’d live with scarlet Majors at the Base,
And speed glum heroes up the line to death.
You’d see me with my puffy petulant face,
Guzzling and gulping in the best hotel,
Reading the Roll of Honour. ‘Poor young chap,’
I’d say – ‘I used to know his father well;
Yes, we’ve lost heavily in this last scrap.’
And when the war is done and youth stone dead,
I’d toddle safely home and die – in bed.
WILFRED OWEN 1893–1918
* * *
THE SEND-OFF
Down the close, darkening lanes they sang their way
To the siding-shed,
And lined the train with faces grimly gay.
Their breasts were stuck all white with wreath and spray
As men’s are, dead.
Dull porters watched them, and a casual tramp
Stood staring hard,
Sorry to miss them from the upland camp.
Then, unmoved, signals nodded, and a lamp
Winked to the guard.
So secretly, like wrongs hushed-up, they went.
They were not ours:
We never heard to which front these were sent.
Nor there if they yet mock what women meant
Who gave them flowers.
Shall they return to beatings of great bells
In wild train-loads?
A few, a few, too few for drums and yells,
May creep back, silent, to still village wells
Up half-known roads.
W.H. AUDEN 1907–73
* * *
from TWELVE SONGS
IX
Stop all the clocks, cut off the telephone,
Prevent the dog from barking with a juicy bone,
Silence the pianos and with muffled drum
Bring out the coffin, let the mourners come.
Let aeroplanes circle moaning overhead
Scribbling on the sky the message He Is Dead,
Put crêpe bows round the white necks of the public doves,
Let the traffic policemen wear black cotton gloves.
He was my North, my South, my East and West,
My working week and my Sunday rest,
My noon, my midnight, my talk, my song;
I thought that love would last for ever: I was wrong.
The stars are not wanted now: put out every one;
Pack up the moon and dismantle the sun;
Pour away the ocean and sweep up the wood.
For nothing now can ever come to any good.
‘For there is good news yet to hear and fine things to be seen’
from ‘The Rolling English Road’
R.S. THOMAS 1913–2000
* * *
THE BRIGHT FIELD
I have seen the sun break through
to illuminate a small field
for a while, and gone my way
and forgotten it. But that was the pearl
of great price, the one field that had
the treasure in it. I realize now
that I must give all that I have
to possess it. Life is not hurrying
on to a receding future, nor hankering after
an imagined past. It is the turning
aside like Moses to the miracle
of the lit bush, to a brightness
that seemed as transitory as your youth
once, but is the eternity that awaits you.
SHEENAGH PUGH 1950–
* * *
SOMETIMES
Sometimes things don’t go, after all,
from bad to worse. Some years, muscadel
faces down frost; green thrives; the crops don’t fail,
sometimes a man aims high, and all goes well.
A people sometimes will step back from war;
elect an honest man; decide they care
enough, that they can’t leave some stranger poor.
Some men become what they were born for.
Sometimes our best efforts do not go
amiss; sometimes we do as we meant to.
The sun will sometimes melt a field of sorrow
that seemed hard frozen: may it happen for you.
SIR JOHN BETJEMAN 1906–84
* * *
CHRISTMAS
The bells of waiting Advent ring,
The Tortoise stove is lit again
And lamp-oil light across the night
Has caught the streaks of winter rain
In many a stained-glass window sheen
From Crimson Lake to Hooker’s Green.
The holly in the windy hedge
And round the Manor House the yew
Will soon be stripped to deck the ledge,
The altar, font and arch and pew,
So that the villagers can say
‘The church looks nice’ on Christmas Day.
Provincial public houses blaze
And Corporation tramcars clang,
On lighted tenements I gaze
Where paper decorations hang,
And bunting in the red Town Hall
Says ‘Merry Christmas to you all.’
And London shops on Christmas Eve
Are strung with silver bells and flowers
As hurrying clerks the City leave
To pigeon-haunted classic towers,
And marbled clouds go scudding by
The many-steepled London sky.
And girls in slacks remember Dad,
And oafish louts remember Mum,
And sleepless children’s hearts are glad,
And Christmas-morning bells say ‘Come!’
Even to shining ones who dwell
Safe in the Dorchester Hotel.
And is it true? And is it true,
This most tremendous tale of all,
Seen in a stained-glass window’s hue,
A Baby in an ox’s stall?
The Maker of the stars and sea
Become a Child on earth for me?
And is it true? For if it is,
No loving fingers tying strings
Around those tissued fripperies,
The sweet and silly Christmas things,
Bath salts and inexpensive scent
And hideous tie so kindly meant,
No love that in a family dwells,
No carolling in frosty air,
Nor all the steeple-shaking bells
Can with this single Truth compare –
That God was Man in Palestine
And lives to-day in Bread and Wine.
PHILIP LARKIN 1922–85
* * *
CHURCH GOING
Once I am sure there’s nothing going on
I step inside, letting the door thud shut.
Another church: matting, seats, and stone,
And little books; sprawlings of fl
owers, cut
For Sunday, brownish now; some brass and stuff
Up at the holy end; the small neat organ;
And a tense, musty, unignorable silence,
Brewed God knows how long. Hatless, I take off
My cycle-clips in awkward reverence,
Move forward, run my hand around the font.
From where I stand, the roof looks almost new –
Cleaned, or restored? Someone would know: I don’t.
Mounting the lectern, I peruse a few
Hectoring large-scale verses, and pronounce
‘Here endeth’ much more loudly than I’d meant.
The echoes snigger briefly. Back at the door
I sign the book, donate an Irish sixpence,
Reflect the place was not worth stopping for.
Yet stop I did: in fact I often do,
And always end much at a loss like this,
Wondering what to look for; wondering, too,
When churches fall completely out of use
What we shall turn them into, if we shall keep
A few cathedrals chronically on show,
Their parchment, plate and pyx in locked cases,
And let the rest rent-free to rain and sheep.
Shall we avoid them as unlucky places?
Or, after dark, will dubious women come
To make their children touch a particular stone;
Pick simples for a cancer; or on some
Advised night see walking a dead one?
Power of some sort or other will go on
In games, in riddles, seemingly at random;
But superstition, like belief, must die,
And what remains when disbelief has gone?
Grass, weedy pavement, brambles, buttress, sky,
A shape less recognisable each week,
A purpose more obscure. I wonder who
Will be the last, the very last, to seek
This place for what it was; one of the crew
That tap and jot and know what rood-lofts were?
Some ruin-bibber, randy for antique,
Or Christmas-addict, counting on a whiff
Of gown-and-bands and organ-pipes and myrrh?
Or will he be my representative,
Bored, uninformed, knowing the ghostly silt
Dispersed, yet tending to this cross of ground
Through suburb scrub because it held unspilt
So long and equably what since is found
Only in separation – marriage, and birth,
And death, and thoughts of these – for whom was built
This special shell? For, though I’ve no idea
What this accoutred frowsty barn is worth,
It pleases me to stand in silence here;
A serious house on serious earth it is,
In whose blent air all our compulsions meet,
Are recognised, and robed as destinies.
And that much never can be obsolete,
Since someone will forever be surprising
A hunger in himself to be more serious,
And gravitating with it to this ground,
Which, he once heard, was proper to grow wise in,
If only that so many dead lie round.
CAROL ANN DUFFY 1955–
* * *
PRAYER
Some days, although we cannot pray, a prayer
utters itself. So, a woman will lift
her head from the sieve of her hands and stare
at the minims sung by a tree, a sudden gift.
Some nights, although we are faithless, the truth
enters our hearts, that small familiar pain;
then a man will stand stock-still, hearing his youth
in the distant Latin chanting of a train.
Pray for us now. Grade I piano scales
console the lodger looking out across
a Midlands town. Then dusk, and someone calls
a child’s name as though they named their loss.
Darkness outside. Inside, the radio’s prayer –
Rockall. Malin. Dogger. Finisterre.
W.B. YEATS 1865–1939
* * *
SAILING TO BYZANTIUM
I
That is no country for old men. The young
In one another’s arms, birds in the trees
– Those dying generations – at their song,
The salmon-falls, the mackerel-crowded seas,
Fish, flesh, or fowl, commend all summer long
Whatever is begotten, born, and dies.
Caught in that sensual music all neglect
Monuments of unageing intellect.
II
An aged man is but a paltry thing,
A tattered coat upon a stick, unless
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress,
Nor is there singing school but studying
Monuments of its own magnificence;
And therefore I have sailed the seas and come
To the holy city of Byzantium.
III
O sages standing in God’s holy fire
As in the gold mosaic of a wall,
Come from the holy fire, perne in a gyre,
And be the singing-masters of my soul.
Consume my heart away; sick with desire
And fastened to a dying animal
It knows not what it is; and gather me
Into the artifice of eternity.
IV
Once out of nature I shall never take
My bodily form from any natural thing,
But such a form as Grecian goldsmiths make
Of hammered gold and gold enamelling
To keep a drowsy Emperor awake;
Or set upon a golden bough to sing
To lords and ladies of Byzantium
Of what is past, or passing, or to come.
TED HUGHES 1930–98
* * *
THE THOUGHT-FOX
I imagine this midnight moment’s forest:
Something else is alive
And this blank page where my fingers move.
Through the window I see no star:
Something more near
Though deeper within darkness
Is entering the loneliness:
Cold, delicately as the dark snow
A fox’s nose touches twig, leaf;
Two eyes serve a movement, that now
And again now, and now, and now
Sets neat prints into the snow
Between trees, and warily a lame
Shadow lags by stump and in hollow
Of a body that is bold to come
Across clearings, an eye,
A widening deepening greenness,
Brilliantly, concentratedly,
Coming about its own business
Till with a sudden sharp hot stink of fox
It enters the dark hole of the head.
The window is starless still; the clock ticks,
The page is printed.
BENJAMIN ZEPHANIAH 1958–
* * *
DIS POETRY
Dis poetry is like a riddim dat drops
De tongue fires a riddim dat shoots like shots
Dis poetry is designed fe rantin
Dance hall style, Big mouth chanting,
Dis poetry nar put yu to sleep
Preaching follow me
Like yu is blind sheep,
Dis poetry is not Party Political
Not designed fe dose who are critical.
Dis poetry is wid me when I gu to me bed
It gets into me Dreadlocks
It lingers around me head
Dis poetry goes wid me as I pedal me bike
I’ve tried Shakespeare, Respect due dere
But dis is de stuff I like
Dis poetry is not afraid of going ina book
Sti
ll dis poetry need ears fe hear an eyes fe hav a look
Dis poetry is Verbal Riddim, no big words involved
An if I hav a problem de riddim gets it solved,
I’ve tried to be more Romantic, it does nu good for me
So I tek a Reggae Riddim an build me poetry,
I could try be more personal
But you’ve heard it all before,
Pages of written words no needed
Brain has many words in store,
Yu could call dis poetry Dub Ranting
De tongue plays a beat
De body starts skanking,
Dis poetry is quick an childish
Dis poetry is fe de wise an foolish
Anybody can do it fe free,
Dis poetry is fe yu an me,
Don’t stretch yu imagination
Dis poetry is fe de good of de Nation,
Chant,
In de morning
I chant
In de night
I chant
In de darkness
An under de spotlight,
I pass thru University
I pass thru Sociology
An den I got a Dread degree
In Dreadfull Ghettology.
Dis poetry stays wid me when I run or walk
An when I am talking to meself in poetry I talk,
Dis poetry is wid me,
Below me an above,
Dis poetry’s from inside me
It goes to yu
WID LUV.
SEAMUS HEANEY 1939–
* * *
DIGGING
Between my finger and my thumb
The squat pen rests; snug as a gun.
Under my window, a clean rasping sound
When the spade sinks into gravelly ground:
My father, digging. I look down
Till his straining rump among the flowerbeds
Bends low, comes up twenty years away
Stooping in rhythm through potato drills
Where he was digging.
The coarse boot nestled on the lug, the shaft
Against the inside knee was levered firmly.
He rooted out tall tops, buried the bright edge deep
To scatter new potatoes that we picked