Category Archives: Poetry

Robert Browning’s How They Brought the Good News from Ghent to Aix (1845)

In 490 BC, the Athen­ian army defeat­ed the invad­ing Per­sian army in a bat­tle on the plain of Marathon, rough­ly 26 miles north of Athens. Accord­ing to leg­end, and brought down to us via the writ­ings of Herodotus, Lucian and Plutarch, the Athe­ni­ans then ordered the mes­sen­ger Phei­dip­pi­des to run ahead to Athens and announce the vic­to­ry to the city. Phei­dip­pi­des raced back to the city in the intense late sum­mer heat. Upon reach­ing the Athen­ian ago­ra, he exclaimed “Rejoice! We con­quer” and then col­lapsed dead from exhaus­tion.

This trope, of the long dis­tance chase to deliv­er vital news, we see again in Hen­ry Wadsworth Longfellow’s Paul Revere’s Ride (1860). This told the (high­ly embroi­dered) tale of Paul Revere’s valiant ride to Con­cord to warn the mili­tia that the British were com­ing, thus pro­mot­ing him in Amer­i­can cul­ture to the sta­tus of hero and patri­ot of the Amer­i­can Rev­o­lu­tion.

In the same spir­it – though this time whol­ly imag­i­nary – is Robert Browning’s How They Brought the Good News from Ghent to Aix. The poem is a first-per­son nar­ra­tive told, in breath­less gal­lop­ing meter, by one of three rid­ers, only one of whose hors­es, the nar­ra­tor’s brave Roland, sur­vives to ful­fil the epic quest. The mid­night errand is urgent — “the news which alone could save Aix from her fate” — but what that good news actu­al­ly is, is nev­er revealed. The sequence of towns flash­ing by between Ghent and Aix-la-Chapelle is true to life, though they are char­ac­terised only by the asso­ci­at­ed times of night, dawn, and day (also a fea­ture of Paul Revere’s Ride) as the nar­ra­tor charges through them.

This poem is one of my ear­li­est mem­o­ries of poet­ry, from school­days, and its rol­lick­ing move­ment and sense of adven­ture res­onates with me now as it did then. There is a record­ing of Brown­ing him­self recit­ing the poem on an 1889 Edi­son cylin­der, but it’s far too crack­ly for our pur­pos­es, and besides, he for­gets the lines and gives up after the first verse (“I’m ter­ri­bly sor­ry but I can­not remem­ber me own vers­es”) so instead I offer this more mod­ern and pro­fes­sion­al ver­sion!

 I
I sprang to the stir­rup, and Joris, and he;
I gal­loped, Dirck gal­loped, we gal­loped all three;
‘Good speed!’ cried the watch, as the gate-bolts undrew;
‘Speed!’ echoed the wall to us gal­lop­ing through;
Behind shut the postern, the lights sank to rest,
And into the mid­night we gal­loped abreast.

II
Not a word to each oth­er; we kept the great pace
Neck by neck, stride by stride, nev­er chang­ing our place;
I turned in my sad­dle and made its girths tight,
Then short­ened each stir­rup, and set the pique right,
Rebuck­led the cheek-strap, chained slack­er the bit,
Nor gal­loped less steadi­ly Roland a whit.

III
’Twas moon­set at start­ing; but while we drew near
Lok­eren, the cocks crew and twi­light dawned clear;
At Boom, a great yel­low star came out to see;
At Düf­feld, ’twas morn­ing as plain as could be;
And from Mecheln church-steeple we heard the half-chime,
So, Joris broke silence with, ‘Yet there is time!’

IV
At Aer­shot, up leaped of a sud­den the sun,
And against him the cat­tle stood black every one,
To stare through the mist at us gal­lop­ing past,
And I saw my stout gal­lop­er Roland at last,
With res­olute shoul­ders, each butting away
The haze, as some bluff riv­er head­land its spray:

V
And his low head and crest, just one sharp ear bent back
For my voice, and the oth­er pricked out on his track;
And one eye­’s black intel­li­gence, — ever that glance
O’er its white edge at me, his own mas­ter, askance!
And the thick heavy spume-flakes which aye and anon
His fierce lips shook upwards in gal­lop­ing on.

VI
By Has­selt, Dirck groaned; and cried Joris, ‘Stay spur!
Your Roos gal­loped brave­ly, the fault­’s not in her,
We’ll remem­ber at Aix’ — for one heard the quick wheeze
Of her chest, saw the stretched neck and stag­ger­ing knees,
And sunk tail, and hor­ri­ble heave of the flank,
As down on her haunch­es she shud­dered and sank.

VII
So, we were left gal­lop­ing, Joris and I,
Past Looz and past Ton­gres, no cloud in the sky;
The broad sun above laughed a piti­less laugh,
‘Neath our feet broke the brit­tle bright stub­ble like chaff;
Till over by Dal­hem a dome-spire sprang white,
And ‘Gal­lop,’ gasped Joris, ‘for Aix is in sight!’

VIII
’How they’ll greet us!’ — and all in a moment his roan
Rolled neck and croup over, lay dead as a stone;
And there was my Roland to bear the whole weight
Of the news which alone could save Aix from her fate,
With his nos­trils like pits full of blood to the brim,
And with cir­cles of red for his eye-sock­ets’ rim.

IX
Then I cast loose my buf­f­coat, each hol­ster let fall,
Shook off both my jack-boots, let go belt and all,
Stood up in the stir­rup, leaned, pat­ted his ear,
Called my Roland his pet-name, my horse with­out peer;
Clapped my hands, laughed and sang, any noise, bad or good,
Till at length into Aix Roland gal­loped and stood.

X
And all I remem­ber is — friends flock­ing round
As I sat with his head ‘twixt my knees on the ground;
And no voice but was prais­ing this Roland of mine,
As I poured down his throat our last mea­sure of wine,
Which (the burgess­es vot­ed by com­mon con­sent)
Was no more than his due who brought good news from Ghent.

Robert Brown­ing

Edgar Allan Poe’s The Raven (1845)

The Raven is a nar­ra­tive poem by Edgar Allan Poe, pub­lished in 1845, famous for its dra­mat­ic, Goth­ic qual­i­ty. The scene is set from the begin­ning: the unnamed nar­ra­tor is in a lone­ly apart­ment on a “bleak Decem­ber” night, with lit­tle more than a dying fire to light the room, when he hears an eerie tap­ping from out­side his cham­ber door. Into the dark­ness he whis­pers, “Lenore,” hop­ing his lost love has come back, but all that could be heard was “an echo [that] mur­mured back the word ‘Lenore!’ ”. The tap­ping per­sist­ing, he opens the win­dow where­upon the mys­te­ri­ous raven enters the room and perch­es atop a sculp­tured bust above his door.

The man asks the raven for his name, and sur­pris­ing­ly it answers, croak­ing “Nev­er­more.” The man knows that the bird does not speak from rea­son, but has been taught by “some unhap­py mas­ter,” and that the word “nev­er­more” is its only response. Thus, he asks a series of ques­tions, all elic­it­ing the stock response at the end of each stan­za.

Poe was very inter­est­ed in express­ing melan­choly in poet­ic form. As he wrote in Graham’s Mag­a­zine in 1846: “Of all melan­choly top­ics, what, accord­ing to the uni­ver­sal under­stand­ing of mankind, is the most melan­choly?” – the answer, of course, Death. And when is Death most poet­i­cal? “When it most close­ly allies itself to beau­ty: the death, then, of a beau­ti­ful woman is, unques­tion­ably, the most poet­i­cal top­ic in the world”. Hence, the poem is about the despair of a bereaved lover, and Poe’s use of the raven — that bird of ill-omen – does lit­tle to sug­gest that a hap­py out­come is forth­com­ing! Per­haps the raven stands for the narrator’s sub­con­scious as he strug­gles with the con­cepts of death and final­i­ty.

There is a lilt­ing rhythm in play; it’s melod­ic as well as dra­mat­ic (and since you ask, it’s in trocha­ic octame­ter, with eight stressed-unstressed two-syl­la­ble feet per lines). There is fre­quent use of inter­nal rhyme, and much rep­e­ti­tion of rhyming around the “or” sound (Lenore, door, lore, nev­er­more).

Who bet­ter to nar­rate this great poem than the prince of hor­ror him­self, Vin­cent Price? Here he is in won­der­ful Goth­ic form, nar­rat­ing, indeed act­ing, this dark classic…superb.

Edgar Allan Poe

W H Auden’s Night Mail (1936)

In the 1930s, a group of British film­mak­ers, led by John Gri­er­son, under the aegis of the GPO Film Unit, was behind an influ­en­tial out­put of doc­u­men­tary films that became known as the British Doc­u­men­tary Film Move­ment. Of the films it pro­duced, the best known and most crit­i­cal­ly acclaimed was Har­ry Wat­t’s and Basil Wright’s Night Mail (1936), fea­tur­ing music by Ben­jamin Brit­ten and poet­ry by W H Auden. Auden wrote his poem espe­cial­ly for the doc­u­men­tary, which fol­lows the Lon­don, Mid­land and Scot­tish Rail­way (LMS) mail train from Lon­don to Scot­land. The poem acts as a sort of verse com­men­tary over the footage of the steam loco­mo­tive, and helped to estab­lish the doc­u­men­tary as some­thing of a clas­sic.

Auden’s lan­guage is inge­nious; glo­ri­ous use of metaphor and clever rhymes, four-beat lines rhyth­mi­cal­ly deliv­ered to mim­ic the pump­ing of the rods and pis­tons of the loco­mo­tive. You can almost hear the train chug­ging along. The per­son­i­fied train is effi­cient, reli­able, stead­fast, trust­wor­thy – there is a remit, after all, to sell the mer­its of the postal ser­vice, and Auden sat­is­fies the spec. As the pace picks up to match the accel­er­a­tion of the train, the rhymes become quick and punchy, and become inter­nal rhymes (Let­ters of thanks, let­ters from banks) rather than line-end rhymes; a rapper’s delight.

This is the night mail cross­ing the Bor­der,
Bring­ing the cheque and the postal order,
Let­ters for the rich, let­ters for the poor,
The shop at the cor­ner, the girl next door.
Pulling up Beat­tock, a steady climb:
The gra­di­en­t’s against her, but she’s on time.

Past cot­ton-grass and moor­land boul­der
Shov­el­ling white steam over her shoul­der,
Snort­ing nois­i­ly as she pass­es
Silent miles of wind-bent grass­es.
Birds turn their heads as she approach­es,
Stare from bush­es at her blank-faced coach­es.
Sheep-dogs can­not turn her course;
They slum­ber on with paws across.
In the farm she pass­es no one wakes,
But a jug in a bed­room gen­tly shakes.

Dawn fresh­ens, Her climb is done.
Down towards Glas­gow she descends,
Towards the steam tugs yelp­ing down a glade of cranes
Towards the fields of appa­ra­tus, the fur­naces
Set on the dark plain like gigan­tic chess­men.
All Scot­land waits for her:
In dark glens, beside pale-green lochs
Men long for news.

Let­ters of thanks, let­ters from banks,
Let­ters of joy from girl and boy,
Receipt­ed bills and invi­ta­tions
To inspect new stock or to vis­it rela­tions,
And appli­ca­tions for sit­u­a­tions,
And timid lovers’ dec­la­ra­tions,
And gos­sip, gos­sip from all the nations,
News cir­cum­stan­tial, news finan­cial,
Let­ters with hol­i­day snaps to enlarge in,
Let­ters with faces scrawled on the mar­gin,
Let­ters from uncles, cousins, and aunts,
Let­ters to Scot­land from the South of France,
Let­ters of con­do­lence to High­lands and Low­lands
Notes from over­seas to the Hebrides
Writ­ten on paper of every hue,
The pink, the vio­let, the white and the blue,
The chat­ty, the cat­ty, the bor­ing, the ador­ing,
The cold and offi­cial and the heart’s out­pour­ing,
Clever, stu­pid, short and long,
The typed and the print­ed and the spelt all wrong.

Thou­sands are still asleep,
Dream­ing of ter­ri­fy­ing mon­sters
Or of friend­ly tea beside the band in Cranston’s or Craw­ford’s
Asleep in work­ing Glas­gow, asleep in well-set Edin­burgh,
Asleep in gran­ite Aberdeen,
They con­tin­ue their dreams,
But shall wake soon and long for let­ters,
And none will hear the post­man’s knock
With­out a quick­en­ing of the heart,
For who can bear to feel him­self for­got­ten?

Auden and Brit­ten

Alfred, Lord Tennyson’s Charge of the Light Brigade, 1854

It’s 25th Octo­ber 1854, and the Bat­tle of Bal­a­cla­va, one of the piv­otal bat­tles of the Crimean War, is in full flow. Lord Raglan, com­man­der of the British forces, has sent a mes­sage order­ing the approx­i­mate­ly 600 horse­men of the British light cav­al­ry (the “Light Brigade”) to pur­sue and har­ry a retreat­ing Russ­ian artillery bat­tery. Dis­as­trous­ly, how­ev­er, due to a mis­com­mu­ni­ca­tion in the chain of com­mand, the Light Brigade is instead sent on a frontal assault against a dif­fer­ent artillery bat­tery, one very much well-pre­pared and defend­ed.

The Light Brigade comes under with­er­ing fire from three sides, is bad­ly mauled, and is forced to retreat in chaos. The assault ends with very high British casu­al­ties, no deci­sive gains, and the event goes down in his­to­ry as one of the most woe­ful of mil­i­tary blun­ders…

Just six weeks after the event, Alfred, Lord Ten­nyson pub­lished his nar­ra­tive poem “The Charge of the Light Brigade”. Its lines empha­sise the val­our of the cav­al­ry in brave­ly car­ry­ing out their orders, regard­less of the obvi­ous out­come. The poem bequeaths to us the famous phrase:

Theirs not to rea­son why,
Theirs but to do and die

Nowa­days, we casu­al­ly use the phrase “ours not to rea­son why” to shrug away a dubi­ous man­age­r­i­al deci­sion. In the poem, how­ev­er, we are left in no doubt as to what the sol­diers were com­mit­ting them­selves to:

Can­non to the right of them,
Can­non to the left of them,
Can­non in front of them
Vol­ley’d and thun­der’d;
Stor­m’d at with shot and shell,
Bold­ly they rode and well,
Into the jaws of Death,
Into the mouth of Hell
Rode the six hun­dred

The met­ri­cal scheme of the poem lends itself to the des­per­ate charge of the horse­men, the breath­less­ly short lines, drummed out like hoof-beats, cre­at­ing a dra­mat­ic imme­di­a­cy. Phras­es like “jaws of Death” and “mouth of Hell” vivid­ly depict the hope­less­ness of the assault.

The Charge of the Light Brigade

I
Half a league, half a league,
Half a league onward,
All in the val­ley of Death
Rode the six hun­dred.
‘For­ward, the Light Brigade!
Charge for the guns!’ he said:
Into the val­ley of Death
Rode the six hun­dred.

II
’For­ward, the Light Brigade!‘
Was there a man dis­may’d?
Not tho’ the sol­dier knew
Some­one had blun­der’d:
Theirs not to make reply,
Theirs not to rea­son why,
Theirs but to do and die:
Into the val­ley of Death
Rode the six hun­dred.

III
Can­non to the right of them,
Can­non to the left of them,
Can­non in front of them
Vol­ley’d and thun­der’d;
Stor­m’d at with shot and shell,
Bold­ly they rode and well,
Into the jaws of Death,
Into the mouth of Hell
Rode the six hun­dred.

IV
Flash’d all their sabres bare,
Flash’d as they turn’d in air
Sabring the gun­ners there,
Charg­ing an army, while
All the world won­der’d:
Plunged in the bat­tery-smoke
Right thro’ the line they broke;
Cos­sack and Russ­ian
Reel’d from the sabre-stroke
Shat­ter’d and sun­der’d.
Then they rode back, but not
Not the six hun­dred.

V
Can­non to right of them,
Can­non to left of them,
Can­non behind them
Vol­ley’d and thun­der’d;
Stor­m’d at with shot and shell,
While horse and hero fell,
They that had fought so well
Came thro’ the jaws of Death,
Back from the mouth of Hell,
All that was left of them,
Left of the six hun­dred.

VI
When can their glo­ry fade?
O the wild charge they made!
All the world won­der’d.
Hon­our the charge they made!
Hon­our the Light Brigade,
Noble six hun­dred!

Ten­nyson
Paint­ing by Richard Caton Woodville, 1894

 

Sur­vivors of the charge