Tag: Poetry

http://urbanbutterflygarden.co.uk/

In our small back garden, I doubt whether I’ve seen more than half a dozen butterflies so far this summer, perhaps fewer than that. It’s hardly surprising in the light of recent research, which suggests that 2016 was one of the worst on record for butterflies in this country, with nearly three-quarters of all species experiencing a decline in numbers.

https://www.theguardian.com/environment/2017/apr/12/uk-butterflies-worst-hit-in-2016-with-70-of-species-in-decline-study-finds

A rare sighting of butterflies now often brings back memories of a holiday in Greece nearly twenty years ago in Ayía Efamía, on the island of Kefaloniá, but with a week on the mainland. Against the scarcity of England now, profusion and abundance then: the wild flowers, the scutter of lizards, the columns of ants—and butterflies everywhere, starting up in clouds as you stepped along the grassy lane, red and yellow and white, one with paper thin white wings with, at their base, an intricate pattern like leaves and branches, in vivid green.

The Greek word psyche meant both ‘butterfly’ and ‘soul’. Some vase paintings contain images of butterflies emerging from the mouths of the dead. ‘To have heard the farfalla [butterfly] gasping as toward a bridge over worlds . . . ’ Ezra Pound writes of that hazardous terrain between life and death.[1]

And butterflies were always there among the ruins, at Delphi, Mystras, Mycenae, flickering above and around broken blocks of stone, fallen pillars, fractured arches. Butterflies amidst the ruins of empire.

Olympia via www.discovergreece.com/

The collapse of empires recurs through history, as does the collapse of financial systems. We, of course, continue to add those contemporary extras, not only terminal climate change, but also the rapid extinction of species—butterflies among them.

In the Romantic era, poets, philosophers, artists, travellers had ruins often on their minds. Romanticism, Raphael Samuel remarks, was built on time’s ruins. Its idea of memory was premised on a sense of loss.[2]

In the midst of the revolution which made or unmade France, Comte de Volney, a deputy in the National Assembly, published Les Ruines, Paris 1791. (That same year, the sixteen-year-old J. M. W. Turner was working in Bristol; he was always, Peter Ackroyd remarks, fascinated by fire and ruins.)[3] In 1818, the eighteen-year-old poet Victor Hugo’s mother came to live on the third floor of 18 rue des Petits-Augustins. ‘An elderly visitor who frequently climbed the stairs of No. 18 was a cousin of Mme. Hugo, the Comte de Volney.’[4]

(J. M. W. Turner, ‘The Ruins of Kirkstall Abbey at Night’, c.1799, watercolour and graphite on paper: ©Tate Britain)

In an essay on Walt Whitman, Guy Davenport remarks that: ‘It is [ . . . ] worth reading Whitman against the intellectual background he assumed his readers knew and which is no longer remembered except sporadically: the world of Alexander von Humboldt, from which Whitman takes the word cosmos, Louis Agassiz, for whom Thoreau collected turtles, Volney’s Ruins, the historical perspective of which is as informative in Whitman as in Shelley, Fourier, Scott. A great deal that seems naif and spontaneous in Whitman has roots and branches.’[5]

‘Things have roots and branches’, Ezra Pound wrote in his later version of Confucius, ‘affairs have scopes and beginnings. To know what precedes and what follows, is almost as good as having a head and feet.’[6]

Volney crops up in a wide variety of contexts. Of Shelley’s ‘Philosophical poem’, Queen Mab, Richard Holmes remarks that ‘The conception of such a total approach to human knowledge was encouraged in Shelley by the reading of Count Volney’s notorious vision of corrupt society, The Ruins of Empire, and Erasmus Darwin’s poems of science and society.’[7]

(Amelia Curran, Percy Bysshe Shelley, oil on canvas, 1819.
Photo credit: National Portrait Gallery, London)

Shelley’s famous ‘Ozymandias’ has a word or two to say about the ruins of hubristic ambition and the delusions of the powerful:

‘And on the pedestal, these words appear:
“My name is Ozymandias, King of Kings;
Look on my Works, ye Mighty, and despair!”
Nothing beside remains. Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away.’[8]

But not only ruins. Just today, The Observer’s tribute to the photographer David Newell-Smith included one of his shots of the Rolling Stones performing in Hyde Park, 5 July 1969.

(A gallery of Newell-Smith’s photographs for The Observer is here:
https://www.theguardian.com/artanddesign/gallery/2017/jul/22/david-newell-smith-the-art-of-the-newspaper-photographer)

Planned as both a return to live performance and the debut appearance of new guitarist Mick Taylor, the Hyde Park concert became in large part a memorial for Brian Jones, who had died just two days earlier. Famously, Mick Jagger read an extract from Adonais, Shelley’s elegy for John Keats, before hundreds of cabbage white butterflies were released (there had been around 2500 but, in the hot weather, many had died).

Rolling Stones on stage, Hyde Park, 5 July 1969
( https://en.wikipedia.org/w/index.php?curid=39102141)

Out of interest, I looked back at what Mick Jagger actually read. Adonais is not a short poem: it consists of 55 stanzas, each of nine lines (so almost 500 lines in all). Jagger read stanza XXXIX and part of stanza LII (he left out the last two and a half lines): he also departed quite a few times from what Shelley actually wrote, usually adding short words—probably to make it easier both for him to read and for the audience to grasp.

And yet—ruins, after all. The two and a half lines that Mick Jagger omitted, probably because of the momentary confusion that mention of ‘Rome’ would cause, run:

Rome’s azure sky,
Flowers, ruins, statues, music, words, are weak
The glory they transfuse with fitting truth to speak.[9]

Around the time that he was writing Queen Mab, Shelley also wrote a long poem called ‘The Retrospect: Cwm Elan, 1812’, contrasting his mental and emotional state of the time with that of a year earlier:

Changed!—not the loathsome worm that fed
In the dark mansions of the dead,
Now soaring through the fields of air,
And gathering purest nectar there,
A butterfly, whose million hues
The dazzled eye of wonder views,
Long lingering on a work so strange,
Has undergone so bright a change.[10]

Just two years before the Hyde Park concert, there had, of course, been another celebrated Mick Jagger link with Lepidoptera, when William Reese-Mogg, quoting (almost) a line from Alexander Pope’s ‘Epistle to Dr Arbuthnot’, headed his Times leader article ‘Who breaks a butterfly on a wheel?’ This was in the wake of the dubious court case, in which the judge, Leslie Block, had imposed prison sentences on Jagger and Keith Richards for drug offences.[11]

‘We Love You’, the Jagger-Richards song that followed shortly after that court case, and that begins with the crash of prison cell doors closing, was released on 18 August 1967.

References

[1] ‘Notes for CXVII et seq.’, The Cantos of Ezra Pound, fourth collected edition (London: Faber and Faber, 1987), 802. See also Canto XCII, 619: ‘farfalla in tempesta/ under rain in the dark: / many wings fragile’.

[2] Raphael Samuel, Theatres of Memory (London: Verso, 1996), ix.

[3] Ackroyd, Turner (London: Vintage Books 2006), 9.

[4] Christopher Woodward, In Ruins (London: Chatto and Windus, 2001), 158-159.

[5] ‘Whitman’, in Guy Davenport, The Geography of the Imagination (London: Picador, 1984), 70.

[6] Confucius. The Unwobbling Pivot; The Great Digest; The Analects (New York: New Directions, 1969), 29.

[7] Holmes, Shelley: The Pursuit (London: Penguin, 1987), 202.

[8] The Complete Poetical Works of Percy Bysshe Shelley, edited by Thomas Hutchinson (London: Oxford University Press, 1909), 546. On this poem, see Davenport, The Geography of the Imagination, 278-281.

[9] The Complete Poetical Works of Percy Bysshe Shelley, 438.

[10] The Complete Poetical Works of Percy Bysshe Shelley, 865.

[11] The Times, 1 July 1967. Pope’s line has ‘upon’ rather than ‘on’.

We bought a poppy plant at the garden centre yesterday and it had bloomed already this morning, even under such a glowering sky.

Apart from its fiery beauty, the poppy is blessed or cursed with an extraordinary array of literary, artistic, historical, mythological and medicinal associations, but is most widely recognised in the context of Armistice Day in the United Kingdom and the Commonwealth countries.

As for the paintings: leafing through art books once to settle on the one half-remembered picture after passing a school where a flowerbed had been thickly planted with poppies, I realised just how many there were to choose from. John Constable and Mary Fedden, Angelica Garnett and Vincent Van Gogh, Vanessa Bell and Georgia O’Keeffe, Christopher Wood and Ivon Hitchens, real one and paper ones by William Nicholson (in the early years, people wore real poppies on Armistice Day). But I finally decided that I must have been thinking either of Claude Monet:

(Claude Monet, Poppy Field Near Argentuil)

or, yes, of Stanley Spencer, whose irises and poppies stick in the mind just as surely as his resurrections, figures on beds, swans, soldiers and shipbuilding.

(Stanley Spencer, Poppies, 1938. Newark Town Hall Museum and Art Gallery:
© the estate of Stanley Spencer; all rights reserved 2014, Bridgeman Images)

And literary associations? The poppy’s connection with the First World War often takes off from the Canadian John McCrae’s poem, first published anonymously in Punch in December 1915:

In Flanders fields the poppies blow
Between the crosses, row on row,
That mark our place; and in the sky
The larks, still bravely singing, fly

Scarce heard amid the guns below.

ending:

We shall not sleep, though poppies grow
In Flanders fields.[1]

Edmund Blunden wrote, in ‘Vlamertinghe: Passing the Chateau, July, 1917’:

Bold great daisies’ golden lights,
Bubbling roses’ pinks and whites—
Such a gay carpet! poppies by the million;
Such damask! such vermilion!
But if you ask me, mate, the choice of colour
Is scarcely right; this red should have been duller.[2]

(Isaac Rosenberg, Self-Portrait, 1914: National Portrait Gallery, London)

The one that most stays with me, though, is probably Isaac Rosenberg’s ‘Break of Day in the Trenches’, which ends:

Poppies whose roots are in man’s veins
Drop, and are ever dropping;
But mine in my ear is safe—
Just a little white with the dust.[3]

But then I think of a holiday in Greece more than fifteen years ago now, a vivid memory of Mycenae, with everywhere the bright clusters of blood-red poppies.

The poppy’s literary associations begin in classical texts, usually there the ‘sleep-bearing’ or garden poppy, the source of opium. Alethea Hayter notes that, ‘In an Egyptian medical treatise of the sixteenth century B. C., Theban physicians were advised to prescribe opium for crying children just as, three and a half millennia later, Victorian babies were dosed with the opiate Godfrey’s Cordial by their nurses to keep them quiet.’[4]

The ancient Greeks and Romans grew poppies in their gardens and ate the seeds, often mixed with honey.[5] The link between the poppy and sleep is implicit in the last lines of McCrae’s poem. Hypnos, the god of sleep, holds a poppy in the representations of him in Roman and Hellenistic sculpture. He worked in partnership with his brother Thanatos, god of death, to remove fallen warriors from the battlefield.[6]

The most notable association, though, is probably with Demeter who, frantic from the loss of her daughter Persephone, who had been carried off by the god of the underworld, ‘soothed her grief with the narcotic juice of the poppy’. The plant ‘has the reputation of giving life, hence the association of the poppy with Demeter, the earth goddess who bestowed fertility on fields.’[7] Alethea Hayter mentions the legend that tells of Demeter, in her search for Persephone, reaching Sicyon, ‘once called Mecone, the city of poppies’, and gathering their flowers. Slitting the seed-cases, she tasted the juice and ‘forgot her sorrows’. She was sometimes portrayed, then, holding a poppy instead of the more established sheaf of corn: the flower ‘adorned her altars and its drug was perhaps used in her rites at Eleusis, to bring forgetfulness of the sorrow of the dying year and to share, by a short winter sleep of the emotions, in the death and re-birth of the plants’.[8]

In his poem ‘In the Trenches’, Richard Aldington wrote:

But that each rush and crash
Of mortar and shell,
Each cruel bitter shriek of bullet
That tears the wind like a blade,
Each wound on the breast of earth,
Of Demeter, our Mother,
Wound us also[9]

In Homer’s Iliad, Teukros, aiming an arrow straight at Hector, misses him and strikes instead Gorgythion:

He bent drooping his head to one side, as a garden poppy
bends beneath the weight of its yield and the rains of springtime;
so his head bent slack to one side beneath the helm’s weight.[10]

This is how Alice Oswald renders that passage:

And now the arrow flies through GIORGYTHION
Somebody’s darling son

As if it was June
A poppy being hammered by the rain
Sinks its head down
It’s exactly like that
When a man’s neck gives in
And the bronze calyx of his helmet
Sinks his head down[11]

Death as slackening, bending, as sinking into sleep, all consciousness and memory gone. Hypnos and Thanatos, sleep and death, lived in Hades, near Lethe, the river of forgetfulness.

Allen Ginsberg, in ‘A Supermarket in California’, addressed to Walt Whitman, ends:

‘Ah, dear father, graybeard, lonely old courage-teacher, what America did you have when Charon quit poling his ferry and you got out on a smoking bank and stood watching the boat disappear on the black waters of Lethe?’[12]

One more Poppy. . . .

 

References

[1] Robert Giddings, The War Poets (1988; London: Bloomsbury, 2000), 55-57.

[2] Blunden, Undertones of War (1928; London: Penguin Books, 1982), 256.

[3] Isaac Rosenberg (21st-Century Authors), edited by Vivien Noakes (Oxford: Oxford University Press, 2008), 106.

[4] Alethea Hayter, Opium and the Romantic Imagination (London: Faber and Faber, 1971), 19. Godfrey’s Cordial was a mixture of opium, treacle, water and spices. See also Hayter’s introduction to Thomas de Quincey, Confessions of an English Opium Eater (Harmondsworth: Penguin Books, 1971), 14-15.

[5] See Michael Ferber, A Dictionary of Literary Symbols (Cambridge: Cambridge University Press, 1999), 160-161. See also: http://classicalanthology.theclassicslibrary.com/2015/02/17/poppies-in-classical-poetry-homer-catullus-virgil-dante-contributed-by-jane-mason-and-david-bevan/

[6] I. Aghion, C. Barbillon, F. Lissarragne, Gods and Heroes of Classical Antiquity (Paris: Flammarion, 1996), 162-163.

[7] Hellmut Baumann, Greek Wild Flowers and plant lore in ancient Greece, translated and augmented by William T. Stearn and Eldwyth Ruth Stearn (London: The Herbert Press, 1993), 69.

[8] Hayter, Opium and the Romantic Imagination, 20.

[9]The Complete Poems of Richard Aldington (London: Allen Wingate, 1948), 62.

[10] Homer, The Iliad of Homer, translated by Richard Lattimore (Chicago: University of Chicago Press, 1961), 190, Bk.V., ll.306-308.

[11] Alice Oswald, Memorial (London: Faber and Faber, 2011), 32.

[12] Ginsberg, Selected Poems 1947-1995 (London: Penguin Books, 2001), 59.