‘The Seafarer’: An Anglo-Saxon Poem

I really enjoy the story of Beowulf. I read it with my Year 9 students in English, and we explore the ways in which the poetry and storytelling are similar or different to the ways in which things are done now. 

That’s why I was excited to learn of the existence of The Seafarer, another AngloSaxon poem of similar vintage, which was almost lost to history for all time.

Image by Stefan Keller from Pixabay

It, too, is written in Old English, and uses similar devices of imagery and poetic narrative to those found in Beowulf, such as kennings and alliteration. This poem, though, reads more like a dramatic monologue than an epic heroic adventure, and is far more religious and deeply spiritual than the secular, wildly fantastic and, at times, quite superstitious story of Beowulf. 

What treasures these stories and poems are – snippets of the past that have survived the centuries despite the best efforts of warring tribes and religious authorities alike to destroy everything that stood between them and the power they sought over Britain and her people. 

You can read a translation of the poem in today’s English at The Anglo-Saxon Narrative Poetry Project website

You can read Dr Oliver Tearle’s thoughts on the poems at the Interesting Literature blog. It is to this blog that I owe my thanks for drawing my attention to the poem. 

Poem: ‘Going to School’ by C.J. Dennis

I learned this poem when I was in 5th grade. My teacher loved poetry sand set us all a poem to memorise and recite. ‘Going to School’ was mine. 

Published in ‘A Book for Kids’ in 1938 with a collection of similarly excellent poems, this is a fun poem with a very musical rhythm and rhyme pattern that are instantly engaging. It conjures images of a time when kids in Australian country schools might ride a horse to school if they loved too far away to walk and didn’t own a bicycle or three. 

Dennis was a man of many talents: in addition to working as a journalist and poet, he also illustrated his own books with delightful pictures that were almost as much fun as the poetry. 

Image: C.J. Dennis working at his desk c.1938 . Public Domain via The State Library of Victoria 

Going to School

Did you see them pass to-day, Billy, Kate and Robin,
All astride upon the back of old grey Dobbin?
Jigging, jogging off to school, down the dusty track-
What must Dobbin think of it – three upon his back?
Robin at the bridle-rein, in the middle Kate,
Billy holding on behind, his legs out straight.


Now they’re coming back from school, jig, jog, jig.
See them at the corner where the gums grow big;
Dobbin flicking off the flies and blinking at the sun-
Having three upon his back he thinks is splendid fun:
Robin at the bridle-rein, in the middle Kate,
Little Billy up behind, his legs out straight.

Dennis’ images for ‘Going to School’ from ‘A Book for Kids’
Public Domain via Project Gutenberg

If you’d like a copy of A Book for Kids, Project Gutenberg has it available in a variety of formats, including for Kindle and other eReaders, free of charge. This is a legal download as the copyright on both the work and the illustrations included has expired. 

Poem: ‘Rhapsody on a Windy Night’ by T.S. Eliot

While it is common knowledge that the enormously popular musical CATS was based on the poetry of T.S. Eliot, it’s less common for people to actually go and read the poetry.

Should they do so, however, they’ll find some lovely poems that reflect the poet’s observations of life as well as the delightful poems about cats that Eliot wrote for children.

This poem was the inspiration for the song ‘Memory‘, the most popular song from the musical, which has been a commercial hit for a number of singers.

The poem has a musical quality of its own, evoking images of city streets in the dead of night and the things that occur while the world is asleep. The imagery is somewhat disjointed, with childhood images interspersed in the street scenery- much like a dream sequence that doesn’t always make sense, or perhaps that phase of tiredness when one drifts off into thoughts and memories and then recovers with a start to observe what is around them with keen perception that belies their prior haze. At the end of the poem, the observer returns home and is urged to sleep: the reminder of the need to prepare for the day ahead is ‘the last twist of the knife’, a concept to which any insomniac will readily relate.

Unlike Andrew Lloyd Webber’s song, this poem is more about realism than romance, demonstrating Eliot’s trademark style of poetry in which he tended to dismiss emotion and focus on impersonal observations and descriptions. 

Rhapsody on a Windy Night

Twelve o’clock.Along the reaches of the street
Held in a lunar synthesis,Whispering lunar incantations
Dissolve the floors of memory
And all its clear relations,Its divisions and precisions,
Every street lamp that I pass
Beats like a fatalistic drum,
And through the spaces of the dark
Midnight shakes the memory
As a madman shakes a dead geranium.

Half-past one,
The street lamp sputtered,
The street lamp muttered,
The street lamp said, “Regard that woman
Who hesitates towards you in the light of the door
Which opens on her like a grin.You see the border of her dress
Is torn and stained with sand,
And you see the corner of her eye
Twists like a crooked pin.”

The memory throws up high and dry
A crowd of twisted things;
A twisted branch upon the beach
Eaten smooth, and polished
As if the world gave up
The secret of its skeleton,
Stiff and white.
A broken spring in a factory yard,
Rust that clings to the form that the strength has left
Hard and curled and ready to snap.

Half-past two,
The street lamp said,
“Remark the cat which flattens itself in the gutter,
Slips out its tongue
And devours a morsel of rancid butter.
“So the hand of a child, automatic,
Slipped out and pocketed a toy that was running along the quay.
I could see nothing behind that child’s eye.
I have seen eyes in the street
Trying to peer through lighted shutters,
And a crab one afternoon in a pool,
An old crab with barnacles on his back,
Gripped the end of a stick which I held him.

Half-past three,
The lamp sputtered,
The lamp muttered in the dark.

The lamp hummed:
“Regard the moon,
La lune ne garde aucune rancune,
She winks a feeble eye,
She smiles into corners.
She smoothes the hair of the grass.
The moon has lost her memory.
A washed-out smallpox cracks her face,
Her hand twists a paper rose,
That smells of dust and old Cologne,
She is alone
With all the old nocturnal smells
That cross and cross across her brain.
“The reminiscence comes
Of sunless dry geraniums
And dust in crevices,
Smells of chestnuts in the streets,
And female smells in shuttered rooms,
And cigarettes in corridors
And cocktail smells in bars.

The lamp said,
“Four o’clock,
Here is the number on the door.
Memory!
You have the key,
The little lamp spreads a ring on the stair,
Mount.
The bed is open; the tooth-brush hangs on the wall,
Put your shoes at the door, sleep, prepare for life.”

The last twist of the knife.

Beowulf: A Marvellous Story, Magnificently Told.

Beowulf, a centuries-old epic poem, is a marvellous story, magnificently told.

Beowulf is the oldest poem that we have in an English language. It is a medieval Anglo-Saxon epic poem that tells of the adventures of the hero, a great warrior named Beowulf, who crossed the sea from Sweden and helped the Danes fight the monster Grendel. ‘Beowulf’ is based on an early Germanic tale that relates events which would have happened after the fall of the Roman Empire and before these tribes moved into Britain. It celebrates a culture that glorifies strength, courage, and heroic achievements. These stories were told in verse by poet-singers called scops as a popular form of entertainment.

imagesAfter being passed down as an oral tradition for centuries, Beowulf was written down somewhere between the eighth and tenth centuries in Old English, the language that the Anglo-Saxons spoke in Britain. We don’t know who wrote it, or exactly when or where it was written down, or if the characters in the poem really existed. The single manuscript that still exists was written in two different people’s handwriting. The poem could be one traditional tale, or a combination of a number of folk tales into one great story. There was a Swedish king named Hygelac who died in 521AD, so it is possible that some or all of the characters were based on real people.

Old English is very different to modern English, so the poem has been translated into modern English so that we can still read and understand the poem today.

Perhaps the most distinctive poetic device in Old English poetry is the kenning. A kenning is a short, metaphorical term which describes a thing without using its name. In ‘Beowulf’, the king is referred to as a “ring-giver”, while Beowulf himself is called “Higlac’s follower”. My favourite from ‘Beowulf’ is “whale-road” as a description for the sea– isn’t that magnificent? While we are still very fond of metaphor, I think it’s a shame we don’t make more use of the kenning. Old English poetry was also characterised by strong rhythm and frequent alliteration. This would have helped the scops learn and remember the tale as an oral tradition, and added a musical element to the recitation, as well as making the story pleasant to listen to for the audience.

Beowulf_Manuscript

Modern translations follow the convention of making frequent and consistent use of both kennings and alliteration. This adds a wonderful sensory element to reading the story of Beowulf, which even today is a thrilling read. It delivers elements of adventure, history, heroism, and macabre storytelling.

The poem is way too long to include in this post, but you can find Beowulf, translated by Seamus Heaney, as a safe-to-download PDF at Scribd.
(Note: you do not have to subscribe or accept any trial memberships to get this file.)

There is also a wonderful reading of the poem in contemporary English on Youtube.

Joey'sMapleLeafTatt

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A Favourite Poem: ‘The Man From Snowy River’ by A.B. Paterson

‘The Man From Snowy River’ is one of my life-long favourite poems.

There are many Australian poems and many well-known Australian poets.  Australian bush poetry, which brings to life the uniquely Australian landscape and the people who live there, has always been a prominent feature of Australian literature.

A.B. “Banjo” Paterson lived from 1864 until 1941. The author of ‘Waltzing Matilda’, ‘The Man From Snowy River’ and ‘Clancy of the Overflow’ is still one of Australia’s most beloved poets.

Like many of Paterson’s poems and those by his contemporaries, ‘The Man From Snowy River’ tells of life in the high country of south-eastern Australia in the late 1800s, where large cattle stations, smaller farms, villages and horsemen featured strongly in the landscape.

It’s highly descriptive, but it is also a narrative poem – that is, a poem that tells a story. They often make use of the voices of a narrator and one or more characters to help deliver the story to the audience. A narrative poems usually follows a set rhythm pattern, and will generally use a regular rhyming pattern throughout a poem.

This is one of my life-long favourite poems. I hope you enjoy it.

The Man From Snowy River

There was movement at the station, for the word had passed around
That the colt from old Regret had got away,
And had joined the wild bush horses – he was worth a thousand pound,
So all the cracks had gathered to the fray.
All the tried and noted riders from the stations near and far
Had mustered at the homestead overnight,
For the bushmen love hard riding where the wild bush horses are,
And the stock-horse snuffs the battle with delight.

There was Harrison, who made his pile when Pardon won the cup,
The old man with his hair as white as snow;
But few could ride beside him when his blood was fairly up-
He would go wherever horse and man could go.
And Clancy of the Overflow came down to lend a hand,
No better horseman ever held the reins;
For never horse could throw him while the saddle girths would stand,
He learnt to ride while droving on the plains.

And one was there, a stripling on a small and weedy beast,
He was something like a racehorse undersized,
With a touch of Timor pony – three parts thoroughbred at least –
And such as are by mountain horsemen prized.
He was hard and tough and wiry – just the sort that won’t say die –
There was courage in his quick impatient tread;
And he bore the badge of gameness in his bright and fiery eye,
And the proud and lofty carriage of his head.

But so slight and weedy, one would doubt his power to stay,
And the old man said, “That horse will never do
For a long and tiring gallop-lad, you’d better stop away,
Those hills are far too rough for such as you.”
So he waited sad and wistful – only Clancy stood his friend –
“I think we ought to let him come,” he said;
“I warrant he’ll be with us when he’s wanted at the end,
For both his horse and he are mountain bred.”

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“He hails from Snowy River, up by Kosciusko’s side,
Where the hills are twice as steep and twice as rough,
Where a horse’s hoofs strike firelight from the flint stones every stride,
The man that holds his own is good enough.
And the Snowy River riders on the mountains make their home,
Where the river runs those giant hills between;
I have seen full many horsemen since I first commenced to roam,
But nowhere yet such horsemen have I seen.”

So he went – they found the horses by the big mimosa clump –
They raced away towards the mountain’s brow,
And the old man gave his orders, “Boys, go at them from the jump,
No use to try for fancy riding now.
And, Clancy, you must wheel them, try and wheel them to the right.
Ride boldly, lad, and never fear the spills,
For never yet was rider that could keep the mob in sight,
If once they gain the shelter of those hills.”

So Clancy rode to wheel them – he was racing on the wing
Where the best and boldest riders take their place,
And he raced his stockhorse past them, and he made the ranges ring
With stockwhip, as he met them face to face.
Then they halted for a moment, while he swung the dreaded lash,
But they saw their well-loved mountain full in view,
And they charged beneath the stockwhip with a sharp and sudden dash,
And off into the mountain scrub they flew.

IMG_0057

Then fast the horsemen followed, where the gorges deep and black
Resounded to the thunder of their tread,
And the stockwhips woke the echoes, and they fiercely answered back
From cliffs and crags that beetled overhead.
And upward, ever upward, the wild horses held their sway,
Were mountain ash and kurrajong grew wide;
And the old man muttered fiercely, “We may bid the mob good day,
No man can hold them down the other side.”

When they reached the mountain’s summit, even Clancy took a pull,
It well might make the boldest hold their breath,
The wild hop scrub grew thickly, and the hidden ground was full
Of wombat holes, and any slip was death.
But the man from Snowy River let the pony have his head,
And he swung his stockwhip round and gave a cheer,
And he raced him down the mountain like a torrent down its bed,
While the others stood and watched in very fear.

He sent the flint stones flying, but the pony kept his feet,
He cleared the fallen timbers in his stride,
And the man from Snowy River never shifted in his seat –
It was grand to see that mountain horseman ride.
Through the stringybarks and saplings, on the rough and broken ground,
Down the hillside at a racing pace he went;
And he never drew the bridle till he landed safe and sound,
At the bottom of that terrible descent.

He was right among the horses as they climbed the further hill
And the watchers on the mountain standing mute,
Saw him ply the stockwhip fiercely, he was right among them still,
As he raced across the clearing in pursuit.
Then they lost him for a moment, where two mountain gullies met
In the ranges, but a final glimpse reveals
On a dim and distant hillside the wild horses racing yet,
With the man from Snowy River at their heels.

And he ran them single-handed till their sides were white with foam.
He followed like a bloodhound in their track,
Till they halted cowed and beaten, then he turned their heads for home,
And alone and unassisted brought them back.
But his hardy mountain pony he could scarcely raise a trot,
He was blood from hip to shoulder from the spur;
But his pluck was still undaunted, and his courage fiery hot,
For never yet was mountain horse a cur.

And down by Kosciusko, where the pine-clad ridges raise
Their torn and rugged battlements on high,
Where the air is clear as crystal, and the white stars fairly blaze
At midnight in the cold and frosty sky,
And where around The Overflow the reed beds sweep and sway
To the breezes, and the rolling plains are wide,
The man from Snowy River is a household word today,
And the stockmen tell the story of his ride.

ScreenHunter_439 Apr. 09 13.30

 

If you want to further enjoy this poem, you can listen to this wonderful reading of the poem by actor Jack Thompson, who played Clancy (of the Overflow) in the movie ‘The Man From Snowy River’ and has a very nice voice.

 

If you enjoyed this poem, please click “like” below, as it helps more people to see my post. Comments and feedback are always welcome. 

A Favourite Poem: ‘The Highwayman’ by Alfred Noyes

For National Poetry Month, enjoy ‘The Highwayman’ by Alfred Noyes.

‘The Highwayman’ is one poem that I have always loved reading, but also one which I have considered an inspiration for my own writing. highwaymanHow I would love to be able to write poetry of this quality!

This poem tells a splendid tale of a dashing hero – even though he was an outlaw – and of daring, deceit and transcendent love.

The imagery is incredible – you only need to read the first verse to see what I mean – and you can almost hear the horse galloping in the rhythm as you read.

There are some old-fashioned words you may not be familiar with, so let me explain what they mean:

  • An ostler is a person responsible for stabling and caring for horses.
  • A galleon is a ship with three masts and squared sails. Think of a pirate ship!
  • A casement is a window.
  • A rapier is a long, narrow sword with a fancy handle designed to protect the user’s hand.

The Highwayman.

PART ONE

The wind was a torrent of darkness among the gusty trees.
The moon was a ghostly galleon tossed upon cloudy seas.
The road was a ribbon of moonlight over the purple moor,
And the highwayman came riding—
Riding—riding—
The highwayman came riding, up to the old inn-door.

He’d a French cocked-hat on his forehead, a bunch of lace at his chin,
A coat of the claret velvet, and breeches of brown doe-skin.
They fitted with never a wrinkle. His boots were up to the thigh.
And he rode with a jewelled twinkle,
His pistol butts a-twinkle,
His rapier hilt a-twinkle, under the jewelled sky.

Over the cobbles he clattered and clashed in the dark inn-yard.
He tapped with his whip on the shutters, but all was locked and barred.
He whistled a tune to the window, and who should be waiting there
But the landlord’s black-eyed daughter,
Bess, the landlord’s daughter,
Plaiting a dark red love-knot into her long black hair.

And dark in the dark old inn-yard a stable-wicket creaked
Where Tim the ostler listened. His face was white and peaked.
His eyes were hollows of madness, his hair like mouldy hay,
But he loved the landlord’s daughter,
The landlord’s red-lipped daughter.
Dumb as a dog he listened, and he heard the robber say—

“One kiss, my bonny sweetheart, I’m after a prize to-night,
But I shall be back with the yellow gold before the morning light;
Yet, if they press me sharply, and harry me through the day,
Then look for me by moonlight,
Watch for me by moonlight,
I’ll come to thee by moonlight, though hell should bar the way.”

He rose upright in the stirrups. He scarce could reach her hand,
But she loosened her hair in the casement. His face burnt like a brand
As the black cascade of perfume came tumbling over his breast;
And he kissed its waves in the moonlight,
(O, sweet black waves in the moonlight!)
Then he tugged at his rein in the moonlight, and galloped away to the west.

PART TWO

He did not come in the dawning. He did not come at noon;
And out of the tawny sunset, before the rise of the moon,
When the road was a gypsy’s ribbon, looping the purple moor,
A red-coat troop came marching—
Marching—marching—
King George’s men came marching, up to the old inn-door.

They said no word to the landlord. They drank his ale instead.
But they gagged his daughter, and bound her, to the foot of her narrow bed.
Two of them knelt at her casement, with muskets at their side!
There was death at every window;
And hell at one dark window;
For Bess could see, through her casement, the road that he would ride.

They had tied her up to attention, with many a sniggering jest.
They had bound a musket beside her, with the muzzle beneath her breast!
“Now, keep good watch!” and they kissed her. She heard the doomed man say—
Look for me by moonlight;
Watch for me by moonlight;
I’ll come to thee by moonlight, though hell should bar the way!

She twisted her hands behind her; but all the knots held good!
She writhed her hands till her fingers were wet with sweat or blood!
They stretched and strained in the darkness, and the hours crawled by like years
Till, now, on the stroke of midnight,
Cold, on the stroke of midnight,
The tip of one finger touched it! The trigger at least was hers!

The tip of one finger touched it. She strove no more for the rest.
Up, she stood up to attention, with the muzzle beneath her breast.
She would not risk their hearing; she would not strive again;
For the road lay bare in the moonlight;
Blank and bare in the moonlight;
And the blood of her veins, in the moonlight, throbbed to her love’s refrain.

Tlot-tlot; tlot-tlot! Had they heard it? The horsehoofs ringing clear;
Tlot-tlot; tlot-tlot, in the distance? Were they deaf that they did not hear?
Down the ribbon of moonlight, over the brow of the hill,
The highwayman came riding—
Riding—riding—
The red coats looked to their priming! She stood up, straight and still.

Tlot-tlot, in the frosty silence! Tlot-tlot, in the echoing night!
Nearer he came and nearer. Her face was like a light.
Her eyes grew wide for a moment; she drew one last deep breath,
Then her finger moved in the moonlight,
Her musket shattered the moonlight,
Shattered her breast in the moonlight and warned him—with her death.

He turned. He spurred to the west; he did not know who stood
Bowed, with her head o’er the musket, drenched with her own blood!
Not till the dawn he heard it, and his face grew grey to hear
How Bess, the landlord’s daughter,
The landlord’s black-eyed daughter,
Had watched for her love in the moonlight, and died in the darkness there.

Back, he spurred like a madman, shrieking a curse to the sky,
With the white road smoking behind him and his rapier brandished high.
Blood red were his spurs in the golden noon; wine-red was his velvet coat;
When they shot him down on the highway,
Down like a dog on the highway,
And he lay in his blood on the highway, with a bunch of lace at his throat.

And still of a winter’s night, they say, when the wind is in the trees,
When the moon is a ghostly galleon tossed upon cloudy seas,
When the road is a ribbon of moonlight over the purple moor,
A highwayman comes riding—
Riding—riding—
A highwayman comes riding, up to the old inn-door.

Over the cobbles he clatters and clangs in the dark inn-yard.
He taps with his whip on the shutters, but all is locked and barred.
He whistles a tune to the window, and who should be waiting there
But the landlord’s black-eyed daughter,
Bess, the landlord’s daughter,
Plaiting a dark red love-knot into her long black hair.

alfred-noyes_QFfuE

For your further enjoyment, you can listen to a recording of Alfred Noyes reciting ‘The Highwayman’.