Monday, November 29, 2021

The Calydonian Boar





Then a vineyard was pulled over at Peppermint Farm,
& the livestock was rough-slaughtered
or drove off into the mist at Sweetmeal Farm,
which was equally remote... these places are hopeful crofts
at the far end of Aetolia, practically in the wood,
they scrape by with grants from the military,
yes, thin scrapings of marginal land, moss & hard bog,
not many people get up there & what they say
is a bit doubtful, you tend to forget because of the names,
but somehow the news drifted into fly-ridden Pleuron.
It took a grip on the public, you know, a bloody mystery.
 
And no doubt at the big house they got a better picture:
more information, and they was more mixed up in it —
cos Oeneus & more especially his wife,
well she owned land or leased it all through to Calydon,
and constant travellers all of them, in well-armed parties
the agents and the children that was all grown-up now
sweated through Aetolia on diplomacy, on business.
 
Not that other folks kept silent when they should of,
ashamed to display their ignorance.
Far from it. The bars was thick with rumour,
they grew cosy and they sold a lot of drinks on the basis of
monstrous historical precedents, the engirdled
progeny of a lake stung into menace by leeches
& churning loam with fiery saurian tails
(the plural tails of a jellyfish)
& filleting teeth. Or else there was explanations,
doubly clever, triply subtle explanations:
my old Dad heard it said in the market
that the beast was not even a beast at all
but just cover for marauding Acarnanians
armed with hides & wooden props, a contraption
whose blueprint come supposedly from Crete.
& many, (coteries of urban sceptics,
each thinking itself alone, significant... you know the type),
well they spoke openly of the mischievous wind,
of bark fallen from a decaying tree,
the odd effects of light on leaves near water
& impressionable peasants.
 
“Yes, yes,” says my old Dad, “but it’s autumn, you see.
A funny old time at the best; a season engendering black
if you give ways to it; precautions is in order,
long hikes is rash, if they can be avoided —
you don't know your weakness on the tottery heather
in the sinking light until perhaps it’s too late;
and then where are you?
Also, water turns sharp and all should lay aside
bathing without purpose. Oh yes, this touches the matter:
sharp water among the bare trees.
In autumn, the shimmer blows off & things is seen as they is,
the mild sun throws an equal light on all,
branches emerge from hiding & the air goes crisp with seeing.”
(He always made a speech this time of year.)
& in a general way it come to this:
“All the stories from out of Calydon –
dreadful for them concerned, oh dreadful it must of been –
yes, it’s credible, nothing more likely...”
 
& thus he refutes the sceptics, quite right as it turned out,
& though many lying reports travelled the highway,
the house of Oeneus distinguished in fear, even then.
 
“Also, intimacy with women & their forests,
the black forest where suffocated roses bloom
between your Callisto's sleepy thighs,
where you snore disgracefully, will sap your vigour —
for such is autumn...”
  Thus Phoenix calls up to me
from out in the street, rousing me
to walk with him to the town's end, a mile beyond it
perhaps, to see what new sign of his presence
the beast had thought fit to trace. & not far off.
 
Then for the first time I seen
his enormous trotterprints on the slats
& one old chap, a bargeman I had to do with
two summers previous, when I was trading salt,
he takes me aside, he points out a violent white gash
in the oak door of a swaying granary.
From above our heads it run, furiously S-shaped,
down to our feet, & draggled along the ground,
rooting out pebbles, clods & stamped straw.
We went silent measuring the range of his tusks.
He was a big, big bastard.
 
There was two men talking earnestly to one other —
& him I knew by sight as Plexippus;
the brother of grand Althaea who married
Oeneus himself. A man of substance, obviously;
it must of been his tenant’s place, but where’s the tenant?
Plexippus, well he took a grave view, of course.
 
“It needs looking at,” he says firmly.
“I know all about that. We'll deal with it.”
He seemed unhappy. I wandered back to the barn,
& froze in the door-way; there was an angry official shout.
In the gloom I seen four bodies laid in a row:
the tenant & his wife lay there in crippled peace
with a ribbon of muslin wrapped around their midriffs.
The other two was children & lay naked.
 
This much I saw, & then I was socked in the back
& hauled choking before the great man. “Now here's a tosser
with an overactive neck,” says Plexippus.
“The first of many, no doubt, come for a picnic
& to view the ruins.” The bouncer renewed his grip,
with a ragged wall to wedge me against.
I seen Phoenix loitering miserably nearby.
“I suppose you must be the High Street expert in banes,”
I was semi-addressed, “could tell me a thing or two, eh?
People in & out the shop all day; gabbing like turkeys.”
He was livid. He bawls at me (well, obviously
he needed someone to bawl at) “Who the hell did this?
Some of your shopkeepers, maybe? Who regulates the ships?
Who monitors boarding – who checks the fucking passports?”
(Now he turns back to the commissioners.)
“You ask what is your duty. For pity’s sake
your first is to close this down.
Right now. For God's sake take control.”
They fling me down and give me the usual treatment
with a few lookers-on; when they’d all gone off to dinner,
Phoenix come and dragged me from the brambles.
 
                        *
 
“Meleager! Tell me you’re joking,” I says to him,
“What gets into you in them fields?
That is about the last person on earth
who could sort our problems. Look what
they done to me already!”
 
 
“Meleager's all right. He won’t get to hear about this,
you know his mother keeps him like a string of pearls,
nobody tells him nothing of what goes on.
Most of the people I talk to think that his brother
will be the man. You know how people talk.  
But he's wanted action for a long time.
He boxes trees in the park, with blood instead of gloves. He flings
a patio slab across the river, and he swims back holding it
out of the water in one hand. Nothing scares him.”
 
“My my, do we have a lot of posh contacts.”
 
“Only Meleager. I had to deliver some nets;
he wanted to fish; I shown him some of our places,
two or three nights we fished in the spring. I
wasn’t to say. But, you know, I seen him walk out
to the furthest fringes of a bowing willow,
& go silent til I swore he wasn’t there,
you know how you blink and blink when you’re unsure,
& then BAM! he bust an eel's neck with a stone.”
 
“But what’s the point? What’s this to you and me?”
 
“All my family is here. & I'm afraid.
Believe me I don’t want to use this contact —
but you can see for yourself...
whatever curse it is that’s come down on us
it might probably take someone who knows
how to burnish his ancestral greaves
& find food on the heath in October;
a man who's trained with centaurs, & whose blood
is richer than this thin red sauce of yours.”
 
He touched my head, & I felt how my hair
had matted together. The town being tense,
I cleaned up to avoid its questions.
 
“An eel don’t have no neck,” I says to Phoenix.
I’m thinking, in other words he’s got connections.
 
*
 
“Bro's in his study. Two flights up.
“I don't know if he's expecting you.
“Probably not.” So Tydeus turned his back on us.
A second later he reappears with a towel
& we watch him slip easily
between the dunes to the sea.
Would Poseidon jump on him there, in a dune-slack?
The staring white light and sand
in which his body flickers, all alone.
 
Meleager looks round quickly, like he’d been caught,
like he was in his own room without leave.
I don’t know what I expected, but not his frightened eyes.
Then he come towards us with heavy steps
which made the attic shudder on its beams.
“I've seen you before. Phoenix, that's the name.
You work a farm we hunt across.”
He looks at me. “You shouldn't have been admitted.
“I requested isolation. No matter.”
 
“We —” Phoenix introduces me again,
this time as a victim of his uncle's creepiness.
 
Meleager drained a green glass of orange juice.
 
“We —” so now we had to explain ourselves,
but we didn’t make a lot of sense. We hadn’t prepared a speech.
“Incidents — that came nearer and nearer — the damage —
spooky damage to farms & land — people...”
 
Meleager relaxed and he made us sit on chairs by the window
which looked over the black green woods of the park
contiguous once with Calydon, who knows?
Well, who knew now what lurked in its shadows?
I saw how he had stiffened against us,
preparing in bitterness to be terribly bored
— this danger not occurring, his eyes shone;
he walked to his desk & crammed his papers
into a drawer, & capped his pen.
 
                        *
 
Restless & shivering in their gantries
they heard at night the siffling on the wind
as if a gross hog snuffled in the streets
& drew up by firelit homes, & raised his forefeet:
BANG! the wind blew the street-door open.
The huddled infants locked arms.
 
                        *
 
Messages went out, steps were heard in courtyards,
the family got involved. Messages came back across the sea,
and strangers followed, dinners and banners,
but that was after; before we got sidelined,
we met in the attic like friends and told our stories.
Stellar beauty of Mel's room, high in the eaves
& from a room all poles, straps, gear & reddened sunlight,
cobwebs in the carpet, old hardwood bricabrac,
some ancient stain; who knows what summer spilt ink.
 
Conferring, conferring. Phoenix and him,
the charts, the incidents, reports,
weighing them like flour, sound? how sound?
the books pulled half out of the shelf,
mugs of cold coffee on the wood floor,
tables shifted about. Charts flopping over the tables
like a god playing about, bending Aetolia in two.
They sized it up between them, Meleager in earnest
& Phoenix trying to keep him in earnest.
 
Always, always, we steered him away from one name:
Althaea.  She who never made a plan, but stonily
worked one out.  Had some such buzz of enthusiasm,
of youth, some ardent and piercing ideal,
how many long years since, produced her?
No, not her, she was a stone’s stone.  
 
 
 
                        *
 
                                        Thirty of us
stood at the farther end of the clearing,
a few women also, as if for a spell forgetting
the antagonistic peoples of the forest
& the year's poor yields in corn & wine.
The leafless trees showed chases where it seemed
no animal could hide, & now we just wanted to pace,
murmuring the briefest prayers to gods one daren't refuse
& the more magnificent ancestors. Theseus
was first to step under the canopy
where ash-keys hung windless. He & Pirithous
had a two-man net. Jason held the leads
of four dogs tightly leashed, ears pricked:
he rounded the black bole of a lime tree
& descended a badger-path, sure-footed,
curbing the hounds' haste. Beyond the stream
we meant to release the pack.
 
Meleager, preoccupied with a girl who'd caught his eye,
fooled around. His spear-point rang
against a branch. The others cursed him.
 
This girl was an Arcadian, a Tegean;
primitives, basically; she come up the river on a corn-ship
(for that year, we bought in from the plains).
She brought no luggage, she cut her bow and arrows
from the willows by Achelous; had no warm clothes
but she stained her skin with bark, and anointed it
with mud from ditches, giggling and festive.
She inspired a lot of talk among the men,
insulting and excited. Her briar-scratched legs
seemed eager to straddle each man she spoke to,
her knees moved to and fro, as she chattered.
 
                        *
 
“There's always something you'd find hard;
summer beneath the leaves would be heavy with mosquitoes,
midges in your nose and mouth,
& ants up your arse.”
 
Phoenix & I took in turns to forage wood,
finally collecting a stockpile.
None approached from larger fires nearby
& I was lonely & resentful, smoky, half-chilled
& aching from the iron ground.
Then from the darkness Oenides stands before me.
 
“Forget about the hunt for tonight.
No point in discussing futures.
Nothing the hounds sniffed at today
smelled bad enough. Though he was here,
but I think he's heavily stealthed. He is a beast...
a kind of a beast... I haven’t met with before, but...
I’ve sensed his like... I can’t spell it out to you.”
 
Obviously, not to the likes of us you can’t!
 
“We should try and get some rest.”
 
“I can live with that.”
 
                                     “So could I,
one day. Don't feel like it now.”
 
He kicks the fire, and shoots a shower of sparks
up into the chill silent air
where each one died into dew & soot, unseen.
 
“Do you think I'm a nice amiable person?
The sort that people like?”
 
“Well, not exactly. There’s others I’d have in my quiz team.”
 
“I'm sorry I invited you now
to my own do. It's the first one I ever gave.
I didn't really know anyone else,
except from books.”
 
                                 We laughed.
 
“I mean obviously I’m doing my best.”
 
                                                           “Such as it is.”
 
“Most of the parties are out of food,” I says to him,
“But I still got some scraps from home.” Meleager looks at me,
& concludes I’m pleased to share food with him.
He threw himself down as if not very hungry,
but he smiled as I laid out a squashed banquet
on leaf litter. In the gloom I had trouble
recalling what cake or cheese lay in what wrapping.
 
“Did your woman make these? They must of been nice once.”
 
The smoke swirled around and made me cough.
 
“I feel I want to act up; to Theseus mostly.
And Telamon. I feel raw & hateful.
I didn't want it to be a social occasion,
going on for days and days. I suppose I thought
we'd be dead by now, or drunk & triumphant.
I've no patience to listen to their dignity.
I should’ve just formed a band. The Fucked Farms.”
 
“Or the Big Pigs,” said Phoenix. Meleager looks at him,
I look at them both: “Be rude then; if that's your nature.”
 
“They're lucky and they're good. I'm not.
But their triumphs were years ago.” Meleager brightened.
“If anyone gains honour from this farce,
it must be someone young. I'm twenty.
What's Jason, for God's sake?”
 
“Well, I was nineteen in June. That must be young enough.”
 
“I know, but you're a shopkeeper.”
 
“He can count his years, which I can't.”
 
That was Atalanta: silent, she come with
an arrow held in each hand, just letting them dry,
& she’d touched up her own paintwork too.
She sank down by Meleager as if the ground was soft.
 
“But I think, Oenides, I am the youngest.”
 
Mel took her head in his arms & kissed her cheek
slowly. Hungrily she makes it into an embrace,
& he tightened his hold. I looked at the earth,
at the fire, stunned by what I was seeing.  Cos I thought
it was cranked up really high, like they snatched at something
bound to be snapped off, under whatever laws governed
the dark & nightchilled wood. They had no custom.
 
“There is,” says Phoenix, “a reason for this delay.
A god’s monster would obviously knows who’s here.
It doesn’t run and hide, or roam about for its own reasons
like natural creatures. There’ll be an onset all right,
but the god wants something else to happen first.”
 
                        *
 
“We’re lucky,” says I, “it could well have rained by now.
My old Dad smelled it and I also thought I seen clouds gather
on the hill-tops. But they moved off.”
 
Meleager sighed angrily. It was not for this stuff
we stood alone at the vantage point, that afternoon.
He stares at the fires below, misery boiling inside of him.
I was supposed to say nothing, but ready to die.
He hadn’t impressed me that day.
 
“Meleager – if you’ve got something to say to me,
just say it to my face, all right?”
 
The expected fury tore free of him, like a canvas roof
eliminated by the wind. He looked at me.
 
“You know I was with her last night. Atalanta.”
 
“Well, I saw you by our campfire. You seemed pretty occupied.”
 
“We didn’t say much. You disappeared. She and I
were alone, the fire died and it began to grow cold,
but we were hugging each other. She kissed me;
her mouth was cold but her breath was warm,
then it was wet and became cold in the night.
I had to keep getting closer and then I became
excited and not cold at all. And I thought we should
go somewhere & finish it off. Although no-one stirred
I thought we might be watched and maybe, I’m sorry for this,
by a shopkeeper?”
 
“Likely, ain’t it?” says I — knowing too well I’d abandoned my pack
by the fire and spent a sorry night with Phoenix on stones.
 
“I know — you have a reverence for the great folks.”
 
I snapped. “I’d do the same for any peasant. I ain’t no pryer,
whatever your uncle says. I’ve got no special friendship for your house.
It’s brought us enough hardship to kill off any fine feelings.
I do for you what I can’t help doing, that’s all.”
 
                        *
 
“Listen to me. We went away from the camp,
she followed quietly behind me and said nothing.
I lost my appetite, but then we found a place where
our feet bounced on lush grass. I turned and grappled
with her. She made me slow down, and she touched me;
I touched her. We stripped off. I felt her breasts in my face
& I grew hard as a bone. Then she lay down and we —
we tried to do it.” His voice broke.
 
“What — ?”
 
“I tried to enter her but I felt something — a blockage.”
 
“Oh, yes — like a virgin.”
 
“No! No! As if I would blab about that! Of course
she is a virgin. But this was not an everyday thing.”
 
And now at last I begun to pity Meleager of the house of Oeneus.
 
“It was a sort of nub of flesh, like a walnut. I tried
to get through but I couldn’t. Then I lost hardness.
I hugged her but it was sorrow not desire.
She had no idea that anything was wrong. She cried
and cried. I cried. It seemed like it was
the only thing we could do together.
I began to love her much more — and then she said something.”
 
His eyes shined and I felt pain had gone wrong in him.
 
“She pitied me — not herself. She saw me walking
alone by the river of death. She saw it and she said it.”
 
                        *
 
The weather was so dry. Here the cool glossy ilex —
 
HRRRRRRRRRRRRRRMNNNNNNNSHHHHHHHHHH
 
We heard a wild shout among the trees,
disembodied, bewildered, and dying away —
then a long silence. I don’t think anyone thought:
Oh well, here it is, this is the thing we've sought.
 
A man hung oddly on the hillock's edge,
pregnant with meaning but not eloquent.
 
Then we heard the bassdrumbattering trotters
of a heavy creature of horrible strength.
& then he rode the ground towards the rise,
where we clustered like stamens
fragile and nodding round a stigma.
 
Imagine a house swollen with muscles,
his bones like beams, trees snapping like pins,
a churned track behind him,
and beautiful, murderous, vacant,
bushes sprouted from his back,
dust bubbled from his feet,
and brassy air blew from his nostrils.
 
The noise of his roar filled the valley
like the spate of a hundred streams of scree
and the mallets of all the coppersmiths.
his head lowered like a cream-jug
was the size of a wheelbarrow &
the tusks like lightning-forks. The speed pumped panic
into our veins, & we scattered in all directions.
 
In contravention of one thing Telamon had said,
I thought of my wife. Oh full, raven hair and
reason, incessant, and sweet, hot madness!
And chuckling together at the moon through a window —
only once been home
& seen our baby suckle at her breast,
& couldn’t smile and killed her smiles stone dead,
& not been open, never said why I was chosen,
& made to depart the next day without equipment or food
just hinting at a long bit of work. & I was
almost angry for her not understanding
my mind, and where it started where it was going,
all which she could of possibly seen in a dream, I suppose.
I was unfair. Remembered her hair unbound
& trailing my shoulders as we bathed.
I was sorry I'd kept her in ignorance,
absent even in her thoughts. I knew some’d say
to Callisto at the well: he's run away.
 
In the deep bend of a stream my party paused
to take breath. All strained for sounds of conflict.
Jason, eyes lit with divine contact, his medium,
though he was old and trembled, he alone rejoiced.
Taking an arrow from his quiver with a rasping noise
he shot it skywards through a gap in the tree canopy
“For thus,” says he, “do we lure the event.
“You're too young to know. The rules change out here,
“& no-one now should calculate his field in strips
“or count his debts aside from the till.”
Which seemed intended for me and Phoenix.
I grasped at his belief, uplifted like the unguided arrow
but it clattered mere yards away; we watched it glance
off the pocked trunk of a poplar
& lodge with a grunt in the snapped back of
a favoured hound, well-known in Pleuron, Chloe.
Poor awkward stiff old man! He was right, too — 
but he knew as if the forest had shouted in his head,
he was not chosen, just here for the ride. Hearing it
lots of times doesn’t make it hurt less.
 
Our fear was a stone arch with both ends rooted
in our stomachs.  We ignored the slithering dog 
dying loudly; but Atalanta took aim
& shot her through the head. In the sudden quiet we faced her.
“You bring death on yourselves,” she says.
 
I saw we were better out of the stream.
We led the others to a point where some view
of the hunting ground was clear between the poles
of saplings, checked by the unfallen leaves
of young oaks. Nothing stirred but ourselves;
we might be alone, barring the wretched corpse
of a fellow huntsman, snagged on a downslope
in the largest glade where the morning frost was smeared,
where heels had lipped in panic & shame.
We had not seen that; now came a wave of remorse & revenge.
 
The silence didn't last. The brave creature
meant to meet his targets without delay.
 
                        *
 
& then the boar, the Calydonian boar,
run ragged & sweating with a bloody poll
lurching, pantomimic, piteous,
with odd deliberation lumbers into Mel's spearpoint
& stuck there. Mel churns his shaft like an oar
& the pig's eyes closed in sad calm
while blood & slaver sprayed from his face
drenching the beech leaves. His whole body trembled
like a docked boat in a squall.
 
Then time began again, but not for the boar.
Others drew round, and wormed their spears in his hide
or hammered his butt with stones. One was Phoenix.
It became hard to know how far the beast was dead,
such was the mass around him, I couldn’t get close.
And grim cheers rose from the shambles, urge and urge again,
Get the bastard get the bastard get the bastard!
 
Atalanta sat on a stone and wept. I saw her.
Her knees made the same movement as in joy.
“Why?” I asked. “Oenides triumphed. Oenides was chosen.”
 
“no not chosen not chosen. If he’d been a different person
I could have saved him from this if I’d been a different person
but you never know who you are and it just didn’t work
and now everything is the way I knew it would be
because I am me and I only liked the idea
and his matted hair and eyes but I couldn’t really
like him because if only he’d been different.”
 
I followed her eyes and there was dust in the air
& through it stumbles Meleager, with red spray on his clothes.
His hands looked odd, seized with cramps,
& I saw he was clutching somethings, bits of boar,
and he was sobbing, holding them out to his girl.
“These are for you, lover.” She painfully took them and he
made a grab at her. She knitted her elbows around her face.
He bellowed.
 
Behind him strode furious Plexippus. “This is indecent,”
he shouted. Meleager picked up a spear — mine.
Plexippus never flinched. “Stop playing this game.
Your mother will thrash you for this. Go and clean
yourself up — you’re a disgrace.”
 
Meleager looked at him. He was too disgusted to strike.
All honour, all beauty, all gold, all islands were destroyed
in his sight. Ruin, shame and dust stoned him. He bawled,
and a spear-tip grew big like an apple towards my body,
and cracked my shoulder into wickerwork.
 
I flickered, saw Phoenix waving his arms in dismay,
and then the cruel spear was through Phoenix.
Phoenix, an eel, a catkin, my brother, fell soulless.
Meleager, raving, opened his mouth to the spear.
 
“Stop this,” I heard Plexippus order. Meleager
walked hogtied to his death, on strange little steps,
as the books say.
 
                        *
 
For a winter month I lay in the warm wood,
watching the scampering squirrels and swooping jays,
the mist breathing from a fire and smarting my eyes
and snatched by the wind and dissolved by the pittering rain.
The trees moaned and moaned and to me they comforted
by mourning Phoenix. Oh do you step
                                      Too close to the fire
                                       Do you step, do you step
                                        Too close to the fire
                                         Well it’s me, it was me
                                          Too close to the fire

and the tune became nonsense but it soothed me.
 
Once at night, I think, Atalanta fucked me
and it was fine, no problem.  But I can’t be sure.
 
I lay shaded by the woodbine never bare of leaves,
and spring came in Calydon, I began to hear,
and I hear the sound of distant traffic,
I looked for hours at an horizontal line, puzzling,
until I seen it was barbed wire. For the wood was not
like that dense green puff of lovely primeval ground,
that fragment monastery of nature
lingering sweetly in the park of Oeneus,
where Meleager’s study overlooked it, that evening.
 
No, it was hacked and scarred,
replanted and regimented, rutted with
tractor tracks and seamed with telegraph poles,
gravelled sidings, garden plants
sprouting on brick-strewn banks,
and the trees were marked with plastic ties
and coloured codes, rhododendron, fencing, bales of hay
and hides made out of pine, the ground
spattered with gaily-coloured cartridges,
Private Keep Out, infant plantations of
Pseudotsuga, Tsuga, Picea,
sorry saplings ringed by mesh,
and then there was the quarrying, the BMX,
the 4WDs in blank-eyed processions on Sundays...
 
When she had sung me to health, Atalanta says:
“That arm won’t work again. You’ll be a hero
to the customers. But you’ll think nothing of that.
Take Callisto in your one good arm and kiss her;
kiss your daughter and then share your bed with Callisto.
I am sure she is a fine woman. You have secrets
together and now, because of him  —  
                         you may live.
Business will sort itself out for you. I see your
grandchildren.”
 





Meleager's spear-point on the reverse of an Aetolian bronze coin from some time between 279 and 168 BCE. Also the inscription ΑΙΤΩΛΩΝ and a bunch of grapes. On the obverse, a personified Aetolia in right profile, wearing a "Macedonian" felt hat.



Labels:

Wednesday, November 24, 2021

Strike leftward!

Mill near the Grande Chartreuse, watercolour (c. 1812-15) by J.M.W Turner






Matthew Arnold is my favourite Victorian poet. It's silly to have favourites, and I'm mainly saying this to suggest the shallowness of my engagement with Victorian poetry.  

My favourite Victorian poet used to be Robert Browning, but that was back in the days when I was more interested in the surface feel of a poem than in having any meaningful communication with it. (I'm sure it's possible to have a conversation with Browning, but my experience is that it doesn't start up so naturally.)  Anyway, this post is a kind of conversation with one of Arnold's poems. 



Stanzas from the Grande Chartreuse


(by Matthew Arnold, written 1851-1854?, first published in Fraser's Magazine, April 1855. First appeared in book form, lightly revised, in New Poems, 1867 (where it was the penultimate poem, followed by Obermann Once More). There were further revisions in the 1881 Poems by Matthew Arnold, and the 1885 Poems by Matthew Arnold. Like Poetry Foundation and PoemHunter I'm quoting the 1885 text. I've noted substantive changes, but not the numerous differences of punctuation, capitalization, etc. I've also numbered the stanzas for ease of reference; they were not numbered by the poet. 



(1)

Through Alpine meadows soft-suffused
With rain, where thick the crocus blows,
Past the dark forges long disused,
The mule-track from Saint Laurent goes.
The bridge is cross'd, and slow we ride,
Through forest, up the mountain-side.

The stanza form is six tetrameters, rhyming ababcc -- A swifter variant of rhyme royal. The rhyme scheme ababcc is the same as in Shakespeare's Venus and Adonis, but the lines there are pentameters (in The Rape of Lucrece and The Lover's Complaint, Shakespeare switched to rhyme royal (ababbcc)).  Wordsworth used tetrameter ababcc in "I wandered lonely as a cloud", but that consists of only four stanzas; Arnold's poem has 35 stanzas.

As in Venus and Adonis, the initial promise is of exciting narrative with an energetic forward momentum.  

crocus: Probably Colchicum autumnale, an autumn-flowering crocus relative. The date of Arnold's visit was 7 September 1851.

Saint Laurent: Saint-Laurent-du-Pont, towards the west of the Massif de Chartreuse. 

(2)

The autumnal evening darkens round,
The wind is up, and drives the rain;
While, hark! far down, with strangled sound
Doth the Dead Guier's stream complain,
Where that wet smoke, among the woods,
Over his boiling cauldron broods.

When you ascend the small river Guiers, in Isère, it branches into the Guiers Mort and the Guiers Vif. Compare Wordsworth in the passage from the Prelude given below: "along their several beds, / Murmured the sister streams of Life and Death".

far down: The Guiers Mort is mainly set in a deep gorge.

For Susan E. Lorsch, nature here is "designified": it carries no message other than what humans themselves project onto it; in marked contrast with Wordsworth's lines on the same scene in Book 6 of The Prelude (quoted below). "This is perhaps the only poem in the Arnold canon that shows a concern with the method of landscape depiction itself as a reflector of a particular conception of nature. In 'Stanzas' Arnold seems to realize that the theme of nature's designification must have technical implications for the poetry that embodies that theme" (p. 46).... "... Arnold's unease with the process of metaphorizing nature is clear. On the one hand, Arnold seems reluctant falsely to infuse designified, unmeaning nature with meaning, that is, to metaphorize it. On the other hand, he resists relegating landscape description to the role of background, for it has such a powerful impact on modern humanity's consciousness" (p. 49).

Susan E. Lorsch, Where Nature Ends: Literary Responses to the Designification of Landscape (1983), pp. 46-49.

(For another instance of designified nature in an Alpine context, see the extract from David Copperfield quoted below.)

(3)

Swift rush the spectral vapours white
Past limestone scars with ragged pines,
Showing—then blotting from our sight!—
Halt—through the cloud-drift something shines!
High in the valley, wet and drear,
The huts of Courrerie appear.

Swift: 1867 and later. "Fast" (1855).

Courrerie: Currière-en-Chartreuse, where there are monastic dwellings (formerly Carthusian; now a monastery (1974) and convent (1991) belonging to the offshoot contemplative order Monastic Family of Bethlehem, of the Assumption of the Virgin and of Saint Bruno, founded in 1950; the order has been recently investigated following allegations of abuse of authority dating from 2001). 

(4)

Strike leftward! cries our guide; and higher
Mounts up the stony forest-way.
At last the encircling trees retire;
Look! through the showery twilight grey
What pointed roofs are these advance?—
A palace of the Kings of France?

(5)

Approach, for what we seek is here!
Alight, and sparely sup, and wait
For rest in this outbuilding near;
Then cross the sward and reach that gate.
Knock; pass the wicket! Thou art come
To the Carthusians' world-famed home.

The poem continues to ascend higher, arriving at the Grande Chartreuse, head monastery of the Carthusian order (founded 1084 CE). In Matthew Arnold's day travellers were still admitted, as described in the poem. That's not the case now. Instead there's a museum for passing tourists, two kilometers away from the actual monastery. 

According to an informative article by Gerald Roberts ("Faith and Dejection: Arnold's "Stanzas from the Grande Chartreuse" and Hopkins's Wreck of the Deutschland" ), Arnold and his new wife stayed overnight at the Grande Chartreuse (Sunday 7th September - Monday 8th September 1851) during their honeymoon. Their marriage had become possible because Arnold had been appointed an Inspector of Schools in April 1851: a very onerous job in its early years, involving constant travel across England. They married two months later (July), but the honeymoon was delayed until September.  

The poem largely leaves women out of it: a bit like the monastery itself. The near presence of Arnold's wife in its narrative (e.g. in the "outbuilding" of this stanza) is pretty well hidden.

Here's what Frances Lucy Arnold wrote in a letter: 

... The Grande Chartreuse I was not going to turn my back upon: as women are not admitted I was lodged in a small house not far from the monastery where I spent rather an uncomfortable time as it was bitterly cold. Matt was allowed to have supper with me, but at 1/2 past 7 he was turned out & went into the monastery where he had a cell to sleep in. He got up at 11 and went to the Chapel & heard midnight mass, which he said was very striking, the monks chaunting the service in a low monotonous tone, each holding a taper: indeed every man had one and the Chapel was lighted in that way. In the morning I went to a small chapel: also for ladies, where I heard mass, the Père Superieur of the Chartreuse officiating. The situation of the monastery is very fine & the size immense, but it looked dreadfully gloomy. The weather was bad as there was a fog the whole time we were there & it was raw cold. 

Source: James H. Broderick "Two Notes on Arnold's 'Grande Chartreuse'" (Modern Philology Vol 66 No. 2 (Nov.1968), pp. 157-162) https://www.jstor.org/stable/435837


(6)

The silent courts, where night and day
Into their stone-carved basins cold
The splashing icy fountains play—
The humid corridors behold!
Where, ghostlike in the deepening night,
Cowl'd forms brush by in gleaming white.

(7)

The chapel, where no organ's peal
Invests the stern and naked prayer—
With penitential cries they kneel
And wrestle; rising then, with bare
And white uplifted faces stand,
Passing the Host from hand to hand;

no organ's peal: Carthusian houses forbid the use of any musical instruments.

There are some difficulties with reconciling Arnold's account with real Carthusian practice, and for a while it was even supposed that Arnold made up his details and perhaps didn't know or care what actually happened at the Grande Chartreuse. Actually his wife's letter shows that he did attend services, though she was not accurate in referring to "midnight mass". The details are discussed by Charles T. Dougherty in "What Arnold Saw and Heard at La 'Grande Chartreuse'" (Victorian Poetry, vol. 18 no. 4 (Winter, 1980), pp. 393-399):

"The more likely schedule is that Arnold got to bed around 8:00 p.m. He rose at 11:00 p.m. and, holding a candle in his hand, attended the Night Vigil and heard the monks chanting Matins and Lauds. He would be back in bed at about 2:00 a.m. He would rise again about 5:30 a.m. and go to the church for Prime of the canonical office, which would be followed by a Mass. At this Mass Arnold would have seen the passing of the pax brede and might easily have mistaken it for the passing of a Host from hand to hand. ... Arnold rendered with fidelity what he saw, or thought he saw, and heard that night at la Grande Chartreuse." (Dougherty, p. 399). 

(8)

Each takes, and then his visage wan
Is buried in his cowl once more.
The cells!—the suffering Son of Man
Upon the wall—the knee-worn floor—
And where they sleep, that wooden bed,
Which shall their coffin be, when dead!


As Dougherty points out, the monks being buried in their beds (or coffins) when they die is incorrect. But it was a widely circulated tale, and Arnold probably believed it was true.

(9)

The library, where tract and tome
Not to feed priestly pride are there,
To hymn the conquering march of Rome,
Nor yet to amuse, as ours are!
They paint of souls the inner strife,
Their drops of blood, their death in life.

(10)

The garden, overgrown—yet mild,
See, fragrant herbs are flowering there!
Strong children of the Alpine wild
Whose culture is the brethren's care;
Of human tasks their only one,
And cheerful works beneath the sun.

See, fragrant herbs: 1881 and later. "Those fragrant herbs" (1855, 1867). 

Presumably referring to the manufacture of the liqueur that sustains the order's finances. Today the liqueur is produced at a nearby distillery: around a million bottles per year. The herbal base is still prepared within the Grande Chartreuse, its secret known to just two monks.

children: the first appearance of a word whose use becomes increasingly prominent (considering that real children are entirely absent), and increasingly complex. See especially Stanzas 14 and 29ff.  

(11)

Those halls, too, destined to contain
Each its own pilgrim-host of old,
From England, Germany, or Spain—
All are before me! I behold
The House, the Brotherhood austere!
—And what am I, that I am here?

(12)

For rigorous teachers seized my youth,
And purged its faith, and trimm'd its fire,
Show'd me the high, white star of Truth,
There bade me gaze, and there aspire.
Even now their whispers pierce the gloom:
What dost thou in this living tomb?

purged: 1867 and later.  "prun'd" (1855).
trimm'd: 1867 and later. "quench'd" (1855). 
high, white:1867 and later.  "pale cold" (1855).
living tomb: referring back to Stanzas 8 and 9. 

(13)

Forgive me, masters of the mind!
At whose behest I long ago
So much unlearnt, so much resign'd—
I come not here to be your foe!
I seek these anchorites, not in ruth,
To curse and to deny your truth;


Not to deny, anyway. Arnold lost his faith in his teens (I read somewhere) and he stuck to that position until his death. Religion contained morality and emotion, he said, but not facts. The poem, however, registers an inner conflict. 

(14)

Not as their friend, or child, I speak!
But as, on some far northern strand,
Thinking of his own Gods, a Greek
In pity and mournful awe might stand
Before some fallen Runic stone—
For both were faiths, and both are gone.


Not as their friend, or child, I speak: And yet, later in the poem, he does conceive himself and his generation as children reared beneath an abbey wall (Stanza 29), and he does speak for these imagined children (Stanzas 33 - 35). 

So, does the analogy work like this? The Greek in a foreign land = Arnold in the Alps; the Greek's own gods = the Protestantism/Anglicanism of Arnold’s upbringing; the fallen Runic Stone = Chartreuse, relic of a different yet equally fading faith (Catholicism) ? I think that's the general idea, but it highlights some contradictions. Chartreuse was after all not a ruin (like the "fallen Runic stone") but a functioning monastery. If it was in some sense a "living tomb" (Stanza 12) the death in question was not the death of faith but, on the contrary, the death of the world to the faithful. At the same time, you can see why this atavistic Carthusianism,  this handful of pallid and wasted forms, might affect Arnold emotionally as a mad remnant of a bygone era, the Age of Faith in a stricter sense. 

The poem here, and later, is much occupied with the paradox that people and practices that are older than us are in another sense younger; they belong to a younger age, whereas we who are young in years belong to an older age.

In a less restricted sense, both Protestantism and Catholicism were booming in 1851; in terms of church building, in terms of sheer numbers of adherents... . It's in Arnold's own post-religious mind that Protestantism and Catholicism are dying faiths. 

(And another point occurs to me, though it's not exactly a contradiction: why does Arnold's analogy seem to be anxiously justifying his visit to fellow Protestants, quite as much as to the "masters of the mind" -- secular humanists presumably? )



(15)

Wandering between two worlds, one dead,
The other powerless to be born,
With nowhere yet to rest my head,
Like these, on earth I wait forlorn.
Their faith, my tears, the world deride—
I come to shed them at their side.

(16)

Oh, hide me in your gloom profound,
Ye solemn seats of holy pain!
Take me, cowl'd forms, and fence me round,
Till I possess my soul again;
Till free my thoughts before me roll,
Not chafed by hourly false control!

Take me, cowl'd forms, and fence me round,: 1867 and later. "Invest me, steep me, fold me round," (1855).

(17)

For the world cries your faith is now
But a dead time's exploded dream;
My melancholy, sciolists say,
Is a pass'd mode, an outworn theme—
As if the world had ever had
A faith, or sciolists been sad!

sciolists: pretentious, superficial or amateur scholars. 

(18)

Ah, if it be pass'd, take away,
At least, the restlessness, the pain;
Be man henceforth no more a prey
To these out-dated stings again!
The nobleness of grief is gone—
Ah, leave us not the fret alone!

fret: 1867 and later. "pang" (1855).

(19)

But—if you cannot give us ease—
Last of the race of them who grieve
Here leave us to die out with these
Last of the people who believe!
Silent, while years engrave the brow;
Silent—the best are silent now.

(20)

Achilles ponders in his tent,
The kings of modern thought are dumb;
Silent they are, though not content,
And wait to see the future come.
They have the grief men had of yore,
But they contend and cry no more.


Achilles: An odd inclusion in this context, the petulant Achilles sulking in his tent. I feel I'm missing something here. It's been suggested that Arnold might have been referring sympathetically to the much-criticized Lord Raglan in 1854 (See Neff, D.S. "The Times, the Crimean War, and 'Stanzas from the Grande Chartreuse.' (influences of the London Times on poet Matthew Arnold)." Papers on Language & Literature, vol. 33, no. 2, spring 1997, pp. 169+).

(21)

Our fathers water'd with their tears
This sea of time whereon we sail,
Their voices were in all men's ears
Who pass'd within their puissant hail.
Still the same ocean round us raves,
But we stand mute, and watch the waves.

Our fathers: 1867 and later. "Their fathers" (1855)
Who pass'd: 1855 and later. "We pass'd" (presumably a typo) on Poetry Foundation and PoemHunter. 
But we stand mute: 1867 and later. "But they stand mute" (1855)

Our fathers, i.e. the immediately preceding generation, conceived as more openly tearful than Arnold's own. 

(22)

For what avail'd it, all the noise
And outcry of the former men?—
Say, have their sons achieved more joys,
Say, is life lighter now than then?
The sufferers died, they left their pain—
The pangs which tortured them remain.

achieved: 1855,  restored in 1881 and later. "obtain'd" (1867).


(23)

What helps it now, that Byron bore,
With haughty scorn which mock'd the smart,
Through Europe to the Ætolian shore
The pageant of his bleeding heart?
That thousands counted every groan,
And Europe made his woe her own?

The three authors that exemplify the "outcry" (Stanza 22) are united by the open expression of their anguish, and also by a basically anti-religious outlook. Their several agonies weren't the same as Arnold's, though; at least I don't recall any of them expressing any sadness about the passing of faith.

The first is Byron, wearing his suffering on his sleeve. With particular reference to Childe Harold's Pilgrimage (1812-1818), the expression of a mood of world-weariness that struck a chord right across Europe. 

pageant: Arnold critically noting the element of exhibitionism in Byron.

Ætolian shore: Byron died in Missolonghi on 19 April 1824. Close to the ancient region of Aetolia, though strictly speaking it's in Acarnania.

(24)

What boots it, Shelley! that the breeze
Carried thy lovely wail away,
Musical through Italian trees
Which fringe thy soft blue Spezzian bay?
Inheritors of thy distress
Have restless hearts one throb the less?

Which fringe: 1881 and later. "That fringe" (1855, 1867). 
soft blue: 1867 and later. "dark blue" (1855). 

Spezzian bay: The bay of La Spezia, on the NW coast of Italy (half-way between Genoa and Livorno), where Shelley made his last home and where he drowned. 

(25)

Or are we easier, to have read,
O Obermann! the sad, stern page,
Which tells us how thou hidd'st thy head
From the fierce tempest of thine age
In the lone brakes of Fontainebleau,
Or chalets near the Alpine snow?

Obermann, the semi-fictional letter-writer of Senancour's Obermann, a book that meant a lot to Arnold. I wrote more about it here:

I'm not sure if it's relevant to Arnold's poem, but in Obermann the subject of the Grande Chartreuse crops up in Letter XXI. 

J’étais bien différent dans ces temps où il était possible que j’aimasse. J’avais été romanesque dans mon enfance et alors encore j’imaginai une retraite selon mes goûts. J’avais faussement réuni, dans un point du Dauphiné, l’idée des formes alpestres à celles d’un climat d’oliviers, de citronniers ; mais enfin le mot de Chartreuse m’avait frappé : c’était là, près de Grenoble, que je rêvais ma demeure. Je croyais alors que des lieux heureux faisaient beaucoup pour une vie heureuse ; et que là, avec une femme aimée, je posséderais cette félicité inaltérable dont le besoin remplissait mon cœur trompé.

Mais voici une chose bien étrange, dont je ne puis rien conclure, et dont je n’affirmerai rien, sinon que le fait est tel. Je n’avais jamais rien vu, rien lu, que je sache, qui m’eût donné quelque connaissance du local de la Grande Chartreuse. Je savais uniquement que cette solitude était dans les montagnes du Dauphiné. Mon imagination composa, d’après cette notion confuse et d’après ses propres penchants, le site où devait être le monastère, et, près de lui, ma demeure. Elle approcha singulièrement de la vérité. Voyant longtemps après une gravure qui représentait ces mêmes lieux, je me dis, avant d’avoir lu : Voilà la Grande Chartreuse ; tant elle me rappela ce que j’avais imaginé. Et quand il se trouva que c’était elle effectivement, cela me fit frémir de surprise et de regret ; il me sembla que j’avais perdu une chose qui m’était comme destinée. Depuis ce projet de ma première jeunesse, je n’entends point sans une émotion pleine d’amertume ce mot Chartreuse.

Translation (mostly by Google Translate):

I was very different in those times when I could possibly have loved. I had been romantic in my childhood and now once more I imagined a retreat according to my tastes. I had falsely united, in respect of the Dauphiné, the idea of ​​alpine forms with those of a climate of olive trees, lemon trees; but in the end, the word "Chartreuse" struck me: it was there, near Grenoble, that I dreamed of making my home. I believed then that happy places did a lot for a happy life; and that there, with a beloved woman, I would possess that unalterable happiness whose need filled my deceived heart.

But here is a very strange thing, from which I cannot conclude anything, and from which I will not affirm anything, except that such is the fact. I had never seen or read anything I know of that would have given me any knowledge of the premises of the Grande Chartreuse. I only knew that this solitude was in the Dauphiné mountains. My imagination composed, according to this confused notion and according to its own inclinations, the site where the monastery was to be, and, near it, my abode. I approached the truth to a surprising degree. Seeing, a long time after, an engraving which represented this same spot, I said to myself, before having read the title: That's the Grande Chartreuse; it reminded me of what I had imagined. And when it turned out that this was indeed the case, it made me shudder with surprise and regret; it seemed to me that I had lost something that was meant to be mine. Since this project of my early youth, I have never heard the word Chartreuse without an emotion full of bitterness.

Obermann subsequently refers to his own remote alpine chalet as a "chartreuse" in Letters LXVII and LXVIII. 

And in Letter LXXXII he plans to finally visit the Grande Chartreuse.  

(26)

Ye slumber in your silent grave!—
The world, which for an idle day
Grace to your mood of sadness gave,
Long since hath flung her weeds away.
The eternal trifler breaks your spell;
But we—we learned your lore too well!

Ye... your... your... your: 1867 and later. "They", "their", "their", "their" (1855)
flung: 1867 and later. "thrown" (1855)

Ye: the plural form, so Arnold is addressing all three dead writers. Byron's vast popularity might seem rather more than the grace of an idle day (at any rate compared with Arnold's niche reading of Obermann), but Arnold's point is that, in any case, the shallow world has moved on from all of them. 

The eternal trifler: the ever-recurring figure of the mocker; mocking, in particular, what was once revered.  


(27)

Years hence, perhaps, may dawn an age,
More fortunate, alas! than we,
Which without hardness will be sage,
And gay without frivolity.
Sons of the world, oh, speed those years;
But, while we wait, allow our tears!

Years hence, perhaps, may dawn an age: 1881 and later. "There may, perhaps, yet dawn an age" (1855, 1867). 
speed those years: 1881 and later. "haste those years" (1855, 1867)
But, while we wait, : 1881 and later. "But, till they rise," (1855, 1867)

Perhaps one place this age may have dawned was in Robert Louis Stevenson's Travels with a Donkey in the Cévennes (1879); at least according to Sarah Barnette. Stevenson quotes "And what am I, that I am here?" (Stanza 11) as a chapter epigraph."Yet Stevenson, I think, poses Arnold’s question quite differently—not in a spirit of mournfulness or pity, but in one of buoyant expectation. Arnold’s narrator is 'forlorn' and despairing, whereas there lingers about Stevenson’s journey an atmosphere of lightheartedness and hope."

Sarah Barnette, "A 'Brave Reading' of One's Faith: Robert Louis Stevenson's Spiritual Travels" (Renovatio, 22 June 2021).
(Stevenson, like Arnold, was negotiating the loss of his childhood faith.)

(28)

Allow them! We admire with awe
The exulting thunder of your race;
You give the universe your law,
You triumph over time and space!
Your pride of life, your tireless powers,
We laud them, but they are not ours.

We laud them: 1885. "They awe us" (1855). "We mark them" (1867). "We praise them" (1881). Arnold got there eventually. "We mark them" is too cold; "We praise them" seems to imply outright acclaim, and thus risks sounding sarcastic. "We laud them" has just the right balance: paying due tribute, but without real enthusiasm. 

(29)

We are like children rear'd in shade
Beneath some old-world abbey wall,
Forgotten in a forest-glade,
And secret from the eyes of all.
Deep, deep the greenwood round them waves,
Their abbey, and its close of graves!

Via an adroit "like", Arnold's poem slips away into an analogical scene, a sunny greenwood scene with an old abbey and a stream, and remains there. The new scene differs markedly from the Grande Chartreuse locus in various ways, e.g in being sunny, and notably in being purely imaginary. Comparable to the way Arnold ends "The Scholar-Gipsy", with its extended analogy of the "Tyrian trader". 

Yet this analogical scene also glimmeringly resembles the Grande Chartreuse: e.g. its abbey shadowing the monastery, its stream shadowing the "Dead Guiers". Moreover, the Grande Chartreuse is in fact surrounded by woods, though not closely (the "encircling trees" of Stanza 4). And the "passing troops" here strangely recall those who came to expel the Carthusian monks in 1790, as recounted by Wordsworth (see below).

Dougherty (see note on Stanza 7) describes this new scene as "distant recollections of Rugby Chapel and St. Mary's" (p. 394). Doubtless those personal memories play a part, but surely the new scene is not a real place. The physical location of the first half of the poem is transmuted into a psychological dreamscape, with its characteristic blend of surface illogic and deeper consonance. 

(30)

But, where the road runs near the stream,
Oft through the trees they catch a glance
Of passing troops in the sun's beam—
Pennon, and plume, and flashing lance!
Forth to the world those soldiers fare,
To life, to cities, and to war!

Forth to the world those soldiers fare,: 1867 and later. "Forth to the mighty world they fare" (1855).

This imaginary scene has a timeless romantic quasi-medieval character: these plumes and pennons and lances could indeed be the accoutrements of modern soldiers even in 1851 (it was the First World War that really ended the use of lances); but the atmosphere is more like the romanticized history of a Scott poem (e.g. Lay of the Last Minstrel, Harold the Dauntless...)

(31)

And through the wood, another way,
Faint bugle-notes from far are borne,
Where hunters gather, staghounds bay,
Round some fair forest-lodge at morn.
Gay dames are there, in sylvan green;
Laughter and cries—those notes between!

wood: 1881 and later. "woods" (1855, 1867)
fair forest-lodge: 1885. "old forest-lodge" (1855, 1867, 1881). 

(32)

The banners flashing through the trees
Make their blood dance and chain their eyes;
That bugle-music on the breeze
Arrests them with a charm'd surprise.
Banner by turns and bugle woo:
Ye shy recluses, follow too!

their ... their ... them: "They" are the children of Stanza 29. (And not the immediately precedent "gay dames", who could hardly be surprised by bugle-music from their own hunting party.)

(33)

O children, what do ye reply?—
"Action and pleasure, will ye roam
Through these secluded dells to cry
And call us?—but too late ye come!
Too late for us your call ye blow,
Whose bent was taken long ago.

O children: i.e. the children of Stanza 29. 

Perhaps it's all part of the dream illogic, but it's odd that they are presented as children, yet the argument they deploy is from the settled habit of age ("too late ye come" ... "long ago" ...): You can't teach an old dog new tricks, so to speak. These "shy recluses", these hauntingly superannuated, inactive "children" (representing the thirty-ish Matthew Arnold among others) are a case of arrested development: a rather characteristic Victorian image. The truly young people in the poem are the "sons of the world" (Stanza 27); those who accept the present for what it is and who actively engage in its works and pleasures, and thus develop into adulthood: represented here as the enthusiastic soldiers (Stanza 30) and the gay dames in the hunting party (Stanza 31). 


(34)

"Long since we pace this shadow'd nave;
We watch those yellow tapers shine,
Emblems of hope over the grave,
In the high altar's depth divine;
The organ carries to our ear
Its accents of another sphere.

Emblems of hope over the grave,: 1867 and later. "Emblems of light above the grave" (1855)

organ: another marked difference with the earlier locus. At the Grande Chartreuse there is no organ (see Stanza 7).

The poem treads a fine line along the very edge of faith, or superstition. The children watch the yellow tapers, "emblems of hope over the grave"; it doesn't mean they share the hope itself, but it does suggest that they experience an obscure second-hand comfort from contemplating the emblem of hope set by others. Likewise their response to the organ music is about its evocation of the "accents of another sphere". How can their deep involvement in this music be reconciled with a firm belief that, all the same, the other sphere has no existence? 

It's a paradox that continues to puzzle just as much in 2021 as in 1851; for instance, for the many people (mainly highly educated) who are passionate about religious art and music, yet don't hold religious beliefs. Do we in fact know what we believe, especially on these biggest and most mysterious questions of existence and life and death? That would be my question, but it was not Arnold's. Since his time it has come to seem more apparent, more familiar anyway, that our idea of the self is to some degree a construct. The same may be said of the supposed body of core beliefs that defines each of us and our position. Like our inner selves, these beliefs become quite elusive as soon as we try to inspect them honestly: we find heaps of beliefs and half-beliefs, often contradicting each other, and dating from different stages in our development. Which of those beliefs prevails in a given moment depends more on the present stimulus than on a fixed hierarchy. 


(35)

"Fenced early in this cloistral round
Of reverie, of shade, of prayer,
How should we grow in other ground?
How can we flower in foreign air?
—Pass, banners, pass, and bugles, cease;
And leave our desert to its peace!"


And leave our desert to its peace!: 1867 and later. "And leave our forest to its peace" (1855).

The "forest" of 1855 straightforwardly referred back to the "forest-glade" and "greenwood" of Stanza 29. The altered ending offers a covert glance back to the Grande Chartreuse: the remote valley where it stands is known as the "le désert de chartreuse". This is "désert" in the old medieval sense of waste land (as in the Green Knight's real name, Bertilak de Hautdesert).




*

The Grande Chartreuse was both remote and yet somewhere a literary or artistic person might well go. Perhaps especially in the Romantic period, on which Arnold's poem looks back. 

Visits to the Grande Chartreuse had been stimulated by Thomas Gray's account from 1739: "one of the most romantic, and most astonishing scenes I ever beheld". In 1802 J.M.W. Turner was up there, making sketches. 

Arnold noticeably doesn't mention Wordsworth's visit to the Grande Chartreuse: he wants to make space for his own poem. But Wordsworth was one of his heroes, and the background is relevant. 

Wordsworth visited the Grande Chartreuse in 1790, shortly before revolutionary troops expelled the monks. (They returned in 1838.) Dorothy wrote in a letter that the visit made a great impression on her brother. The forcible expulsion of the monks gave Wordsworth a few early misgivings about the revolution, which he initially overcame.  He wrote about it in Descriptive Sketches (1793) and then in "The Tuft of Primroses" (1808), an unfinished draft for the abortive Recluse. Finally the topic found a place in Book VI of the 1850 Prelude : it was Wordsworth's last major addition to his poem.  

This information comes from Joseph F. Kishel, The Wordsworth Circle vol. 12 no. 1 (Winter 1981), pp. 82-88. 

Here's the Chartreuse passage in Descriptive Sketches (1793):

But lo! the Alps ascending white in air,
Toy with the sun and glitter from afar.
And now, emerging from the forest's gloom,
I greet thee, Chartreuse, while I mourn thy doom.
Whither is fled that Power whose frown severe
Awed sober Reason till she crouched in fear?
'That' Silence, once in deathlike fetters bound,
Chains that were loosened only by the sound
Of holy rites chanted in measured round?
The voice of blasphemy the fane alarms,
The cloister startles at the gleam of arms.
The thundering tube the aged angler hears,
Bent o'er the groaning flood that sweeps away his tears.
Cloud-piercing pine-trees nod their troubled heads,
Spires, rocks, and lawns a browner night o'erspreads;
Strong terror checks the female peasant's sighs,
And start the astonished shades at female eyes.
From Bruno's forest screams the affrighted jay,
And slow the insulted eagle wheels away.
A viewless flight of laughing Demons mock
The Cross, by angels planted on the aerial rock.
The "parting Genius" sighs with hollow breath
Along the mystic streams of Life and Death.
Swelling the outcry dull, that long resounds
Portentous through her old woods' trackless bounds,
Vallombre, 'mid her falling fanes, deplores,
For ever broke, the sabbath of her bowers.


And here's the Chartreuse passage in the 1850 Prelude:

                                             Taking leave
Of this glad throng, foot-travellers side by side,
Measuring our steps in quiet, we pursued
Our journey, and ere twice the sun had set
Beheld the Convent of Chartreuse, and there
Rested within an awful solitude:
Yes, for even then no other than a place
Of soul-affecting solitude appeared
That far-famed region, though our eyes had seen,
As toward the sacred mansion we advanced,
Arms flashing, and a military glare
Of riotous men commissioned to expel
The blameless inmates, and belike subvert
That frame of social being, which so long
Had bodied forth the ghostliness of things
In silence visible and perpetual calm.
—"Stay, stay your sacrilegious hands!"—The voice
Was Nature's, uttered from her Alpine throne;
I heard it then and seem to hear it now—
"Your impious work forbear, perish what may,
Let this one temple last, be this one spot
Of earth devoted to eternity!"
She ceased to speak, but while St. Bruno's pines
Waved their dark tops, not silent as they waved,
And while below, along their several beds,
Murmured the sister streams of Life and Death,
Thus by conflicting passions pressed, my heart
Responded; "Honour to the patriot's zeal!
Glory and hope to new-born Liberty!
Hail to the mighty projects of the time!
Discerning sword that Justice wields, do thou
Go forth and prosper; and, ye purging fires,
Up to the loftiest towers of Pride ascend,
Fanned by the breath of angry Providence.
But oh! if Past and Future be the wings
On whose support harmoniously conjoined
Moves the great spirit of human knowledge, spare
These courts of mystery, where a step advanced
Between the portals of the shadowy rocks
Leaves far behind life's treacherous vanities,
For penitential tears and trembling hopes
Exchanged—to equalise in God's pure sight
Monarch and peasant: be the house redeemed
With its unworldly votaries, for the sake
Of conquest over sense, hourly achieved
Through faith and meditative reason, resting
Upon the word of heaven-imparted truth,
Calmly triumphant; and for humbler claim
Of that imaginative impulse sent
From these majestic floods, yon shining cliffs,
The untransmuted shapes of many worlds,
Cerulean ether's pure inhabitants,
These forests unapproachable by death,
That shall endure as long as man endures,
To think, to hope, to worship, and to feel,
To struggle, to be lost within himself
In trepidation, from the blank abyss
To look with bodily eyes, and be consoled."
Not seldom since that moment have I wished
That thou, O Friend! the trouble or the calm
Hadst shared, when, from profane regards apart,
In sympathetic reverence we trod
The floors of those dim cloisters, till that hour,
From their foundation, strangers to the presence
Of unrestricted and unthinking man.
Abroad, how cheeringly the sunshine lay
Upon the open lawns! Vallombre's groves
Entering, we fed the soul with darkness; thence
Issued, and with uplifted eyes beheld,
In different quarters of the bending sky,
The cross of Jesus stand erect, as if
Hands of angelic powers had fixed it there,
Memorial reverenced by a thousand storms;
Yet then, from the undiscriminating sweep
And rage of one State-whirlwind, insecure.
*

David Copperfield was serialized in 1849-1850 (just before Arnold wrote this poem). It was a novel that Arnold greatly admired. Towards the end the bereaved David finds himself in crisis, in an alpine landscape that seems at first to withhold its speech from him (compare the note on Stanza 2 above). I'm not suggesting this passage is a source for Arnold's poem but it's a fascinating analogue, both for its similarities and for its differences. 

I was in Switzerland. I had come out of Italy, over one of the great passes of the Alps, and had since wandered with a guide among the by-ways of the mountains. If those awful solitudes had spoken to my heart, I did not know it. I had found sublimity and wonder in the dread heights and precipices, in the roaring torrents, and the wastes of ice and snow; but as yet, they had taught me nothing else.

I came, one evening before sunset, down into a valley, where I was to rest. In the course of my descent to it, by the winding track along the mountain-side, from which I saw it shining far below, I think some long-unwonted sense of beauty and tranquillity, some softening influence awakened by its peace, moved faintly in my breast. I remember pausing once, with a kind of sorrow that was not all oppressive, not quite despairing. I remember almost hoping that some better change was possible within me.

I came into the valley, as the evening sun was shining on the remote heights of snow, that closed it in, like eternal clouds. The bases of the mountains forming the gorge in which the little village lay, were richly green; and high above this gentler vegetation, grew forests of dark fir, cleaving the wintry snow-drift, wedge-like, and stemming the avalanche. Above these, were range upon range of craggy steeps, grey rock, bright ice, and smooth verdure-specks of pasture, all gradually blending with the crowning snow. Dotted here and there on the mountain’s-side, each tiny dot a home, were lonely wooden cottages, so dwarfed by the towering heights that they appeared too small for toys. So did even the clustered village in the valley, with its wooden bridge across the stream, where the stream tumbled over broken rocks, and roared away among the trees. In the quiet air, there was a sound of distant singing—shepherd voices; but, as one bright evening cloud floated midway along the mountain’s-side, I could almost have believed it came from there, and was not earthly music. All at once, in this serenity, great Nature spoke to me; and soothed me to lay down my weary head upon the grass, and weep as I had not wept yet, since Dora died!

(From David Copperfield, Chapter 58)

*

Here's another post I enjoyed reading while preparing this post: 

Yuval Ben-Ami, "A Journey to the Impenetrable Monastery Where Monks Live in Isolation and Silence" (Haaretz, 9 January 2020):

*

On Matthew Arnold's The Scholar-Gipsy:

On Matthew Arnold's Balder Dead:























...

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Friday, November 19, 2021

Tender Girl notes




Lisa Samuels, Tender Girl: A Novel (Dusie, 2015) 

In my last post about this I suggested that the full title looks very like the title of a poem. I'm rescinding that suggestion. Now I've read it all I do perceive it as fully a novel, in a way that novels by experimental poets sometimes aren't. Albeit an experimental one and recognizably like Tomorrowland and Anti M in many respects. 

The novel concerns Girl, imagined daughter of the copulation between male human and female shark in Les chants de Maldoror (Isidore Ducasse (aka Comte de Lautréamont), published 1868-1869). 

In the novel Girl comes to land, like the Little Mermaid: but for her this is "the land of the father" (p. 12). Nevertheless there's a glancing reference, e.g. in the title of the opening chapter, "The Prince".  She's young but pubescent, the men are already interested. Her interactions with men, with women, with art; the birth of her daughter. 


Lisa Samuels reading the entire novel in a recording by Tim Page from 2019-2020:

http://writing.upenn.edu/pennsound/x/Samuels.php#tendergirl

Interview with David Spittle (2018) in which Lisa talks at length about some of the background and preoccupations of Tender Girl:

https://www.dspittle.com/post/2018/05/11/light-glyphs-7-lisa-samuels


One of the unexpected things that emerges from the interview is that TG became in part a riposte to the The Awakening (Kate Chopin, 1899, much taught in literature classes) -- "a novel I find deplorable, depressing upon the head of woman whilst presented as some kind of female wake-up narrative." 


Anthony Manu's essay "Narrative Coherence and Postcolonialism in Tomorrowland (2009) and Tender Girl (2015) by Lisa Samuels" (Journal for Literary and Intermedial Crossings 5.2 (2020)).


"Tender Girl can be interpreted as a text that aims to make it seem possible for a nonfully human person to find a place in the human world where non-humans are objectified and only rationality is truly valued (This evokes posthuman and feminist critiques of patriarchal society)."  


As Lisa points out in the interview, a half-shark half-human is in fact an impossibility. The literal reality of Girl is not the point: we are not in the mode of narrative realism. 

The novel speaks to the recurrent experience of humans who do not feel completely human, at least not as humanity is narrowly defined. Who feel different. Who are indeed judged to be different, by other humans. Who may be judged so for their behaviour, feelings, gender, ethnicity, sexuality . . .

TG verges on fairy tale in respect of its serene counterfactual premise. And across the spectrum it's also about the individual's conflict with society, like 1984

By contrast with both these analogies, it strikes me that TG does not render Girl's emotional narrative, in fact does not render emotion, in a straightforward way. In the early part of the book she moves from one man to the next, in scenes that may be graphic or manipulative or abusive but there's little sense of Girl's passion or other emotional responses. It's as if she can't quite understand what's happening, doesn't know what she feels, or doesn't feel what others might. 

As in Tomorrowland, the text often glides out of its premise and Girl is then just a young woman making her way in an urban, educated world, with friends etc.

*

As in other LS texts there is a formal engine. That is, a bundle of features that between them make a sort of hum, defining the distinct character of TG. That includes paragraphing and italics and headings and the accompanying story gloss (think Faerie Queene, Ancient Mariner -- though Coleridge only added his in 1815-16, and some admirers, such as Charles Lamb, disliked them). 

These are all fun, but the most significant aspects of the formal engine occur within the text body itself. E.g. Certain phrases or ideas that recur throughout. 

Little holes for breathing (or similar).

Wetness in general.

Tendrils.

Skin peeling.

Hhhhh (or similar): breathing noises.

Cartilage.

Microchasm.

Yum yum.

awa and ama.

Maybe this is not a formal feature, but the possessive " 's " strikes me as unusually rare ... Well, let's go with that. And it does direct attention to Girl's lack of possessions. Others have things -- such as houses -- (see e.g. the Domestic Man in the passage below): Girl has only her body. 

For Girl, to "have" something is to bring it into closeness with her body. She may eat it or she may breathe with it or have sex with it. In the ocean world she's used to, the limits of body and environment are less stable: things exist to the extent one is immersed in them, with open mouth. 


*

Later, in a stony part of the city, the mazes yielded for a while.
I mean segregating and re-grouping Girl moved in relation with her tribute to the land of the father, she was learning how to walk.
A man with a warm face beckoned her in. It was midnight and she held a cup in her hands and listened to the immigrant deliver his privilege.
His warm hair was full of intention. He held her by the stomach and the rooms were square with wobbly walls, the fluid and colors came out, the hard-to-access insides a feature of the lateral surfaces of flesh squirming, the turns and slate eyes and the bathroom all had logics he would gesture. All the separate parts flung out.

Then his friends came over, wearing his robes and shining. And how thrilling that moment, the plates licked "make sure to get her home," and the sermonette discarded, the little holes for breathing armed.

Hhhh. It was a tall monument so why not leave the smashed glass?

(From Tender Girl, Ch. 1 "The Prince", p. 18. The narrative gloss says "Girl walks at night, smelling human talk. A man pulls her in".)



Quelle est cette armée de monstres marins qui fend les flots avec vitesse? Ils sont six; leurs nageoires sont vigoureuses, et s'ouvrent un passage, à travers les vagues soulevées. De tous ces êtres humains, qui remuent les quatre membres dans ce continent peu ferme, les requins ne font bientôt qu'une omelette sans œufs, et se la partagent d'après la loi du plus fort. Le sang se mêle aux eaux, et les eaux se mêlent au sang. Leurs yeux féroces éclairent suffisamment la scène du carnage ... Mais, quel est encore ce tumulte des eaux, là-bas, à l'horizon? On dirait une trombe qui s'approche. Quels coups de rame! J'aperçois ce que c'est. Une énorme femelle de requin vient prendre part au pâté de foie de canard, et manger du bouilli froid. Elle est furieuse; car, elle arrive affamée. Une lutte s'engage entre elle et les requins, pour se disputer les quelques membres palpitants qui flottent par-ci, par-là, sans rien dire, sur la surface de la crème rouge. A droite, à gauche, elle lance des coups de dent qui engendrent des blessures mortelles. Mais, trois requins vivants l'entourent encore, et elle est obligée de tourner en tous sens, pour déjouer leurs manœuvres. Avec une émotion croissante, inconnue jusqu'alors, le spectateur, placé sur le rivage, suit cette bataille navale d'un nouveau genre. Il a les yeux fixés sur cette courageuse femelle de requin, aux dents si fortes. Il n'hésite plus, il épaule son fusil, et, avec son adresse habituelle, il loge sa deuxième balle dans l'ouïe d'un des requins, au moment où il se montrait au-dessus d'une vague. Restent deux requins qui n'en témoignent qu'un acharnement plus grand. Du haut du rocher, l'homme à la salive saumâtre, se jette à la mer, et nage vers le tapis agréablement coloré, en tenant à la main ce couteau d'acier qui ne l'abandonne jamais. Désormais, chaque requin a affaire à un ennemi. Il s'avance vers son adversaire fatigué, et, prenant son temps, lui enfonce dans le ventre sa lame aiguë. La citadelle mobile se débarrasse facilement du dernier adversaire ... Se trouvent en présence le nageur et la femelle de requin, sauvée par lui. Ils se regardèrent entre les yeux pendant quelques minutes: et chacun s'étonna de trouver tant de férocité dans les regards de l'autre. Ils tournent en rond en nageant, ne se perdent pas de vue, et se disent à part soi: «Je me suis trompé jusqu'ici; en voilà un qui est plus méchant.» Alors, d'un commun accord, entre deux eaux, ils glissèrent l'un vers l'autre, avec une admiration mutuelle, la femelle de requin écartant l'eau de ses nageoires, Maldoror battant l'onde avec ses bras: et retinrent leur souffle, dans une vénération profonde, chacun désireux de contempler, pour la première fois, son portrait vivant. Arrivés à trois mètres de distance, sans faire aucun effort, ils tombèrent brusquement l'un contre l'autre, comme deux aimants, et s'embrassèrent avec dignité et reconnaissance, dans, une étreinte aussi tendre que celle d'un frère ou d'une sœur. Les désirs charnels suivirent de près cette démonstration d'amitié. Deux cuisses nerveuses se collèrent étroitement à la peau visqueuse du monstre, comme deux sangsues; et, les bras et les nageoires entrelacés autour du corps de l'objet aimé qu'ils entourèrent avec amour, tandis que leurs gorges et leurs poitrines ne faisaient bientôt plus qu'une masse glauque aux exhalaisons de goëmon; au milieu de la tempête qui continuait de sévir; à la lueur des éclairs; ayant pour lit d'hyménée la vague écumeuse, emportés par un courant sous-marin comme dans un berceau, et roulant sur eux-mêmes, vers les profondeurs de l'abîme, ils se réunirent dans un accouplement long, chaste et hideux!... Enfin, je venais de trouver quelqu'un qui me ressemblât!... Désormais, je n'étais plus seul dans la vie!... Elle avait les mêmes idées que moi!... J'étais en face de mon premier amour!


What is this army of sea monsters that cut through the waves with speed? They are six; their fins are vigorous, and open a passage, through the uplifted waves. Of all the human beings, who move their four limbs in this not very firm continent, the sharks soon make only an omelette without eggs, and share it according to the law of the strongest. The blood mixes with the waters, and the waters mix with the blood. Their fierce eyes sufficiently illuminate the scene of the carnage ... But what is this tumult of the waters over there on the horizon? It looks like a waterspout approaching. What strokes of the oar! I see what it is. A huge female shark comes to take part in the duck liver pate, and to eat cold porridge. She is furious; because she arrives hungry. A fight begins between her and the sharks, to compete for the few throbbing members that float here and there, without saying anything, on the surface of red cream. To right and to left she snaps with her teeth, inflicting fatal injuries. But three living sharks still surround her, and she is forced to turn in all directions, to foil their maneuvers. With growing emotion, hitherto unknown, the spectator, placed on the shore, follows this naval battle of a new kind. His eyes are fixed on this brave female shark, with such strong teeth. He no longer hesitates, he shoulders his rifle, and, with his usual skill, he lodges his second bullet in the ear of one of the sharks, just as he appeared above a wave. There remain two sharks which only testify to a greater relentlessness. From the top of the rock, the man with the brackish saliva throws himself into the sea, and swims towards the pleasantly colored carpet, holding in his hand the steel knife he never abandons. Now every shark has to deal with an enemy. He advances towards his tired adversary, and, taking his time, thrusts his sharp blade into his belly. The mobile citadel can easily get rid of the last opponent ... The swimmer and the female shark he has saved are left together. They looked each other in the eyes for a few moments: and each was astonished to find so much ferocity in the looks of the other. They go swimming around in circles, not losing sight of each other, and say to themselves: “I have deceived myself up to now; here is one who is still more evil." So, by mutual agreement, between two waters, they slid towards each other, with mutual admiration, the female shark spreading the water with her fins, Maldoror beating the wave with her arms: and held back their breath, in deep veneration, each eager to contemplate, for the first time, his living portrait. Arrived at three meters distance, without making any effort, they suddenly fell against each other, like two magnets, and embraced with dignity and gratitude, in an embrace as tender as that of a brother or sister. Carnal desires closely followed this demonstration of friendship. Two sinewy thighs stuck tightly to the monster's slimy skin, like two leeches; and, the arms and the fins entwined around the body of the beloved object which they surrounded with love, while their throats and their bosoms soon became but a glaucous mass with the exhalations of seaweed; in the midst of the storm that continued to rage; in the light of lightning; having the foaming wave for their mating bed, carried by an underwater current as in a cradle, and rolling on themselves, towards the depths of the abyss, they united in a long coupling, chaste and hideous !. .. Finally, I had found someone who resembled me! ... Henceforth I was no longer alone in life! ... She had the same ideas as me! ... I was before my first love!


From Les Chants de Maldoror, Chant deuxième. (Translation mainly by Google Translate.) The second half of this passage is the epigraph of Tender Girl. Girl has quite a strong family resemblance to her father Maldoror, e.g. in his lack of human empathy and quest to understand himself; as well as to her shark mother. Given the supposed moral status of her parents, is Tender Girl in dialogue with the idea of original sin? 



The youngsters came tumbling up the steps, the quadroon following at the respectful distance which they required her to observe. Mrs. Pontellier made them carry her paints and things into the house. She sought to detain them for a little talk and some pleasantry. But they were greatly in earnest. They had only come to investigate the contents of the bonbon box. They accepted without murmuring what she chose to give them, each holding out two chubby hands scoop-like, in the vain hope that they might be filled; and then away they went.

The sun was low in the west, and the breeze soft and languorous that came up from the south, charged with the seductive odor of the sea. Children freshly befurbelowed, were gathering for their games under the oaks. Their voices were high and penetrating.

Madame Ratignolle folded her sewing, placing thimble, scissors, and thread all neatly together in the roll, which she pinned securely. She complained of faintness. Mrs. Pontellier flew for the cologne water and a fan. She bathed Madame Ratignolle’s face with cologne, while Robert plied the fan with unnecessary vigor.

The spell was soon over, and Mrs. Pontellier could not help wondering if there were not a little imagination responsible for its origin, for the rose tint had never faded from her friend’s face.

She stood watching the fair woman walk down the long line of galleries with the grace and majesty which queens are sometimes supposed to possess. Her little ones ran to meet her. Two of them clung about her white skirts, the third she took from its nurse and with a thousand endearments bore it along in her own fond, encircling arms. Though, as everybody well knew, the doctor had forbidden her to lift so much as a pin!

“Are you going bathing?” asked Robert of Mrs. Pontellier. It was not so much a question as a reminder.

“Oh, no,” she answered, with a tone of indecision. “I’m tired; I think not.” Her glance wandered from his face away toward the Gulf, whose sonorous murmur reached her like a loving but imperative entreaty.

“Oh, come!” he insisted. “You mustn’t miss your bath. Come on. The water must be delicious; it will not hurt you. Come.”

He reached up for her big, rough straw hat that hung on a peg outside the door, and put it on her head. They descended the steps, and walked away together toward the beach. The sun was low in the west and the breeze was soft and warm.

VI

 

Edna Pontellier could not have told why, wishing to go to the beach with Robert, she should in the first place have declined, and in the second place have followed in obedience to one of the two contradictory impulses which impelled her.

A certain light was beginning to dawn dimly within her,—the light which, showing the way, forbids it.

At that early period it served but to bewilder her. It moved her to dreams, to thoughtfulness, to the shadowy anguish which had overcome her the midnight when she had abandoned herself to tears.

In short, Mrs. Pontellier was beginning to realize her position in the universe as a human being, and to recognize her relations as an individual to the world within and about her.





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