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? He does so is in won­der­ful Goth­ic form, nar­rat­ing, indeed act­ing, this dark classic…superb.

Edgar Allen Poe

Once upon a mid­night drea­ry, while I pon­dered, weak and weary,
Over many a quaint and curi­ous vol­ume of for­got­ten lore—
While I nod­ded, near­ly nap­ping, sud­den­ly there came a tap­ping,
As of some one gen­tly rap­ping, rap­ping at my cham­ber door.
“’Tis some vis­i­tor,” I mut­tered, “tap­ping at my cham­ber door—
Only this and noth­ing more.”

Ah, dis­tinct­ly I remem­ber it was in the bleak Decem­ber;
And each sep­a­rate dying ember wrought its ghost upon the floor.
Eager­ly I wished the morrow;—vainly I had sought to bor­row
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radi­ant maid­en whom the angels name Lenore—
Name­less here for ever­more.

And the silken, sad, uncer­tain rustling of each pur­ple cur­tain
Thrilled me—filled me with fan­tas­tic ter­rors nev­er felt before;
So that now, to still the beat­ing of my heart, I stood repeat­ing
“’Tis some vis­i­tor entreat­ing entrance at my cham­ber door—
Some late vis­i­tor entreat­ing entrance at my cham­ber door;—
This it is and noth­ing more.”

Present­ly my soul grew stronger; hes­i­tat­ing then no longer,
“Sir,” said I, “or Madam, tru­ly your for­give­ness I implore;
But the fact is I was nap­ping, and so gen­tly you came rap­ping,
And so faint­ly you came tap­ping, tap­ping at my cham­ber door,
That I scarce was sure I heard you”—here I opened wide the door;—
Dark­ness there and noth­ing more.

Deep into that dark­ness peer­ing, long I stood there won­der­ing, fear­ing,
Doubt­ing, dream­ing dreams no mor­tal ever dared to dream before;
But the silence was unbro­ken, and the still­ness gave no token,
And the only word there spo­ken was the whis­pered word, “Lenore?”
This I whis­pered, and an echo mur­mured back the word, “Lenore!”—
Mere­ly this and noth­ing more.

Back into the cham­ber turn­ing, all my soul with­in me burn­ing,
Soon again I heard a tap­ping some­what loud­er than before.
“Sure­ly,” said I, “sure­ly that is some­thing at my win­dow lat­tice;
Let me see, then, what there­at is, and this mys­tery explore—
Let my heart be still a moment and this mys­tery explore;—
’Tis the wind and noth­ing more!”

Open here I flung the shut­ter, when, with many a flirt and flut­ter,
In there stepped a state­ly Raven of the saint­ly days of yore;
Not the least obei­sance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my cham­ber door—
Perched upon a bust of Pal­las just above my cham­ber door—
Perched, and sat, and noth­ing more.

Then this ebony bird beguil­ing my sad fan­cy into smil­ing,
By the grave and stern deco­rum of the coun­te­nance it wore,
“Though thy crest be shorn and shaven, thou,” I said, “art sure no craven,
Ghast­ly grim and ancient Raven wan­der­ing from the Night­ly shore—
Tell me what thy lord­ly name is on the Night’s Plu­ton­ian shore!”
Quoth the Raven “Nev­er­more.”

Much I mar­velled this ungain­ly fowl to hear dis­course so plain­ly,
Though its answer lit­tle meaning—little rel­e­van­cy bore;
For we can­not help agree­ing that no liv­ing human being
Ever yet was blessed with see­ing bird above his cham­ber door—
Bird or beast upon the sculp­tured bust above his cham­ber door,
With such name as “Nev­er­more.”

But the Raven, sit­ting lone­ly on the placid bust, spoke only
That one word, as if his soul in that one word he did out­pour.
Noth­ing far­ther then he uttered—not a feath­er then he flut­tered—
Till I scarce­ly more than mut­tered “Oth­er friends have flown before—
On the mor­row he will leave me, as my Hopes have flown before.”
Then the bird said “Nev­er­more.”

Star­tled at the still­ness bro­ken by reply so apt­ly spo­ken,
“Doubt­less,” said I, “what it utters is its only stock and store
Caught from some unhap­py mas­ter whom unmer­ci­ful Dis­as­ter
Fol­lowed fast and fol­lowed faster till his songs one bur­den bore—
Till the dirges of his Hope that melan­choly bur­den bore
Of ‘Never—nevermore’.”

But the Raven still beguil­ing all my fan­cy into smil­ing,
Straight I wheeled a cush­ioned seat in front of bird, and bust and door;
Then, upon the vel­vet sink­ing, I betook myself to link­ing
Fan­cy unto fan­cy, think­ing what this omi­nous bird of yore—
What this grim, ungain­ly, ghast­ly, gaunt, and omi­nous bird of yore
Meant in croak­ing “Nev­er­more.”

This I sat engaged in guess­ing, but no syl­la­ble express­ing
To the fowl whose fiery eyes now burned into my bosom’s core;
This and more I sat divin­ing, with my head at ease reclin­ing
On the cushion’s vel­vet lin­ing that the lamp-light gloat­ed o’er,
But whose vel­vet-vio­let lin­ing with the lamp-light gloat­ing o’er,
She shall press, ah, nev­er­more!

Then, methought, the air grew denser, per­fumed from an unseen censer
Swung by Seraphim whose foot-falls tin­kled on the tuft­ed floor.
“Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee
Respite—respite and nepenthe from thy mem­o­ries of Lenore;
Quaff, oh quaff this kind nepenthe and for­get this lost Lenore!”
Quoth the Raven “Nev­er­more.”

“Prophet!” said I, “thing of evil!—prophet still, if bird or dev­il!—
Whether Tempter sent, or whether tem­pest tossed thee here ashore,
Des­o­late yet all undaunt­ed, on this desert land enchant­ed—
On this home by Hor­ror haunted—tell me tru­ly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I implore!”
Quoth the Raven “Nev­er­more.”

“Prophet!” said I, “thing of evil!—prophet still, if bird or dev­il!
By that Heav­en that bends above us—by that God we both adore—
Tell this soul with sor­row laden if, with­in the dis­tant Aidenn,
It shall clasp a saint­ed maid­en whom the angels name Lenore—
Clasp a rare and radi­ant maid­en whom the angels name Lenore.”
Quoth the Raven “Nev­er­more.”

“Be that word our sign of part­ing, bird or fiend!” I shrieked, upstart­ing—
“Get thee back into the tem­pest and the Night’s Plu­ton­ian shore!
Leave no black plume as a token of that lie thy soul hath spo­ken!
Leave my lone­li­ness unbroken!—quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!”
Quoth the Raven “Nev­er­more.”

And the Raven, nev­er flit­ting, still is sit­ting, still is sit­ting
On the pal­lid bust of Pal­las just above my cham­ber door;
And his eyes have all the seem­ing of a demon’s that is dream­ing,
And the lamp-light o’er him stream­ing throws his shad­ow on the floor;
And my soul from out that shad­ow that lies float­ing on the floor
Shall be lifted—nevermore!


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