Welcome!

Welcome to The Igam-Ogam Mabinogion. By way of explanation, especially to those who might be completely unfamiliar with such a title, the Mabinogion is a renowned collection of mediaeval Welsh tales, while Igam-Ogam is simply Welsh for ‘zigzag‘. ‘Mabinogi’/’Mabinogion‘  has the meaning of ‘youthful tales’ – and combined with ‘Igam-Ogam’ the intention is to represent what you will discover here as ‘diverse and wandering jottings, young at heart’. They are diverse in the subject matter they cover, and in their varying styles; they are young at heart, I like to think, even though their composer is not exactly a spring chicken.


What will you expect to see on The Igam-Ogam Mabinogion?  Well, basically poetry of all kinds —rhymed, unrhymed, metrical and unmetrical, lengthy and brief, descriptive and imaginary, serious and humorous. There is little which employs traditional verse forms—you will find no Petrarchan sonnets, ottava rima, etc.—with many of these I am simply a ‘No-good Boyo’; neither, in the other extreme, will you find that which is deliberately and fashionably obscure. What characterizes much of the poetry shown here is rhythm; for it may be safely said that without rhythm and its attributes there can be no poetry. Subjects are both Welsh and universal, dealing with personal memories and reflections, journeys real and imaginary, the affairs of gods and goddesses, men, women, and love, the fascinations of the natural world and of the Otherworld, and, of course, the Welsh past and present. There are the shorter epigrams and Haiku, and a selection of translations—a handful from the French, and a good many from the Classical Chinese. I embrace archaic language where it is fitting, as well as the occasional slickness found in the modern. There is the playful, and the downright daft.


A little about myself: A good many years ago (perhaps I should say ‘Once upon a time’) my poetry appeared alongside that of R.S. Thomas, Vernon Watkins, Dannie Abse, and other Welsh poets writing in English at that time—Roland Mathias, Harri Webb, John Tripp, Meic Stephens, and others. Outside the Welsh circle I shared pages with poets Thomas Kinsella, Donald Davie… and now I’m mentioning too many names, but will go ahead and say that I was honoured to share publication space with Eugene Ionesco and Vladimir Nabokov. These were heady, happy days which I remember with a sense of satisfaction. But duty called me away from this – there was a young family to care for, and a career to be pursued, and the writing years were all too brief and a long time ago. In the intervening decades, though, I seldom ceased scribbling, and now, with around a thousand poems including the translations, and much else tucked away, I thought it opportune to enter the stage again.

Please see the full poems below in the order they were posted up, or select by name from the menu at the top right. If you like what you see and wish to be informed of new poems as they are posted, simply leave a comment beneath any of the poems. Thank you!

In Dewisland

Traethmawr Odyssey

Did that wave-cast wanderer feel like this when he awoke
upon that splayed Phaeacian shore?
Did sand and sunlight filter through his fingers
and did he see a sideways world
of crashing salt and sparkling foam –
this spinning, stilling, many-coloured,
sunny, sandy, shimmering world?
The plaint of gulls, the lull of waves play lilting in my ears –
I hear the things he must have heard.
Must I run the gauntlet
of Scylla and Porthstin… but that in no way fits!
Ramsey and Charyb… my senses, sleeping, still… that isn’t it…
Those low black islets – waiting: Mercy! They could… I know they house
for all their innocence, a Circe!
O Gods! I must break free! No siren song
will lure me should I wake!
Arise, fresh winds to lift me high
and fetch me to some other place – yes, look! There’s lonely Gwales’ isle –
I could go there – though for, I fear, no longer than a spell –
just biding till there’s time to spread these flashing, newborn wings
I feel will spiral me elsewhere!
Soar, man! Fly, though startled, scattered gulls protest and stare you in the eye.
High and higher still – plunge on
through rafts of cloud to airy, unimagined heights
till, when near its tented end the sky’s exultant breeze
will leave you laughing loud and clear!

Look! All Dewisland spread out!
This is my dominion: I am lord and king
of this below to shape it how I will, as suits my hand!
Five Argive ships, their sails unfurled,
windbillow in a wine-dark sea…
Carn Llidi sprawls adream, reclining giant-like
below. Will no man stir him from his counting sheep?
In scattered stones about his flanks
my fairy forts are marked out in the sun as neat as on some magic map;
and from the spreading, mazy miles of turf and tilted slab beyond
come faintest echoes of that fair folks’ lovely, long-forgotten song,
and the sweep of time-stilled harp-strings lingers on.
My mounds of gorse bloom heady gold
as far as can be spied. Where Gwyddno’s sunken kingdom rests
the lazy kelp swings with the tide. And, lo! Far at the end of the gleaming sea
all Erin’s ancient kings have sighted me and, shouting out, amazed,
are proffering brimmed cups of heather ale!
All ears and scuts the rabbits rush in distant Skomer’s ferns;
its cliffs at once a couchant, cruising and exploding mass of guillemot and tern,
and look, there’s heraldry high-perched – the parrot of the sea’s emblazoned beak.
But closer by on Ramsey’s open ocean side disguised as elongated, storm-flung stones
the morlo mermaids catch my eye when, now and then,
they shift a mite or turn, or obey the aeons’ urge to slip and slide on bellies
to the rough inviting surge.
Small crabs climb briskly over pebbles in Melgan’s rock-bound cove
while Lisgi guards the silent, passive lives that fill his tidal pools.
Concealed beneath the tablecloth, the outspread jigsaw leagues of hedge and field I hold in sway,
a thousand furry little long-tailed fellows run, and climb,
and play alongside bright-shelled snails that very slowly slide; and sharing in this
richest soil and tangled green I see the busy millions of my winged, thin-limned and fragile,
humming, spinning subjects toil: and toil away the fragments of their secret, hectic lives.

And now, aloft by many a mile, to marvel at my fiefdoms, great and small –
I poise.

But… Silence!
Do I fly or fall?


A reeling head, a sickened heart.
Held, stricken dumb and terrified,
aghast and frail and small –

I fall!

Wind rends! My breath escapes and screams!
My shattered senses fail!
A weighted sack of raven’s wine,
hurtling down, hell-bound to meet
an unsung end in the senseless deep –
a sea, a sea with my good red blood
a stain in the drifting tides!

Three miles, two – one only – still dropping like a stone!
Gods! White-caps shock the splintered rocks below…
incisors and the maelstrom both whirling round and round.
Yes, Scylla and that other one – I see you clearly, now:
Some knavish laugh-crazed look-out in my mind shouts ‘Land Ahoy!’
So the Bitches will have me after all.
Then let it be… Make space there, Icarus, my boy!

Then – gentleness. No rushing near,
no blinding sear, but – gentleness.
And a world of crashing salt and sparkling waves,
spinning, stilling, many-coloured,
sunny, sandy, gladly wakening world
in Ithaca that’s Wales.



(From ‘Memories, Moods, Reflections’ )



Note: It was intended that this dream sequence be accompanied by a hefty raft of words, but in these days of long-honours on the chin and creaking in the jimmers, I’ll  be glad for once to give all such addenda a pass. Suffice to say it’s trusted that the scattering of classical/mythological puns and innuendos, whether Hellenic or Cymric, won’t be missed, nor the intimacy of homed-in topological detail. The anointed will need no clues. To get most out of the poem it’s best if the reader is familiar with that magical peninsula where the very stones of the shore are an episcopal purple – that Dewisland which is bordered in the east by the sprawled dyke of Ffôs y Mynach, and by the wild ramparts of Penmaen Dewi in the west. There is much more that the poem could say of that land of castellated upthrusts of grey-white dolerite, and brooks which fret and gurgle to the sea, and the whole capsized calligraphy of its landscape; there are some dozen lines, I’m sure, which need still to be included.

This is an extended and reworked version of a poem written all of sixty years ago, bar one. It appeared in Wales’ premier literary magazine of the time, and this then young pen-pusher was pleased as Punch to see that it was nicely placed in the table of contents as the third entry, immediately below two poems by R.S. Thomas and Alun Lewis’ letters to Robert Graves. Those were the days.



A Bevy of Beauties Ripe from the Bible

Potiphar’s Life

Sexily, peskily,
P’s wife purred ‘Play with me … ‘
Angered when Joe fled, she
furiously wailed

‘Hubby! Joe touched me, and
lascivideviously
wanted his way with me!’
(Poor Joe got jail).



Why It’s Not a Cool Idea to Let your Wife Take a Bath on the Roof Patio

Goggle-eyed, boggle-eyed,
Dave saw Bathsheba rise
out of her bubble-bath
showing her all.

‘Rub Hubby out!’ quoth he,
‘Unjustifiably!’
Uriah was clobbered, and
Dave got the gal.



My, My, My!

Shiftily, niftily,
Dee-li-lah craftily
snipped with her scissors and
cut off his curls.

Consequence? Lover Boy
unceremoniously
hot-pokered eyeless
by Philistine churls.



How to get Ahead

Swivvily, dizzily
gyrated Sal-o-me.Herod was pleased with her,
granted a wish.

‘What should I ask for, Mum?’
Jawchamynuffernmun!
Baptist John’s bonce, for me!
Dumped in a dish!’




(From ‘Of Goddesses and Women’ )


The Conscript’s Tale


The Regiment

My regiment was marvellous,
the Twenty-Third was fine,
with battle-honours piled up high
since Sixteen-Ninety-Five.
We’d performed in many a ‘party’
from the Boyne to Waterloo,
the Crimea and the Boer War
and World Wars One and Two.
Then ‘commies’ in Malaya,
in Cyprus, ‘terrorists’
(and we’ve ‘rescued Wales’
Cau dy ben! – since then
when sent to do our bit).

We had a regimental goat
to represent our land – 
(though, the goat was from the ‘Royal‘ herd,
so not a native son).
Attachment to that loyal herd,
no doubt, appealed to some,
and our ossifers – crachachified
were of Anglophilic brand.
Their returned salutes were languorous,
as though they didn’t care;
but jawch, they weren’t as bad as that,
so let’s just leave it there.
At our school they were the masters;
And the prefects? Sergeants bold,
who marched us up and down the square –
and none could be excused.
(The worst was Sergeant Williams
of the catastrophic yell,
and parentage so dubious –
we hated him like hell).
We ‘sloped’ our arms and ‘ordered’ them
to the drumbeat on parade,
and if we moved a fraction late
the corporals took our names.
And then you’d be on a fizzer
what’s called a two-five-two,
‘cos QRs and the MML
don’t like the look of you;
p’raps do a spell of jankers,
be escorted by RPs,
and moved around like Mother Brown
with a ‘Bend them bluddy knees!’
We learned to burnish brasses
till they sparkled like the sun,
and blanco belts and gaiters,
and when all that was done
we’d get them filthied-up again
when made to crawl through gunge.
It made no sense at all to me
and made no sense to others,
but it made fine sense to the up-aboves
who play at silly buggers.

Annoying what they named us, too:
‘cos Welsh, not ‘Welch’  we was
(an antiquated antic,
that Seventeenth-century tab).
But …’Dismiss, injurious banter!’
‘Fall out, this kind of spoof!’
I’m not poking fun at anyone, mun,
and I’ll furnish you with proof:

Aye!

Tadcu fought with the Twenty-Third;
my uncles with the Borderers;
my dad fought with the Forty-first;
I fought with the Fusiliers.

In fact no-one in our family
ever got on with the blydi army at all 😦


(From ‘Memories, Moods, Refections’ )


Notes:

The Twenty-third: The British army’s 23rd regiment of foot – the Royal Welsh Fusiliers, formed in 1689.

Cau dy ben! : Welsh of the south – literally ‘Shut your head’ (in the northern dialect, Cau dy gêg / ‘Shut your mouth’) and in the poem’s context used, as it often was in my part of Wales, as a mild and jocular reproof, as compared to ‘Get away with you1’, or ‘Don’t tell such fibs!’, the implication being ‘Who’s attacking Wales, then?  (Malaya and Cyprus being, of course, more than a bit too far away to suppose any legitimate threat to this little entity).

We had a regimental goat: Mountain goats have traditionally served as mascots for all Welsh regiments of the line. The mascot of the RWF is selected from the ‘Royal Herd’, goats originally gifted to England’s royal family by an Asian potentate, if I remember correctly.  When I was with the 1st Battalion a forthright offer of a new mascot of the most impeccable Welsh pedigree was made to the regiment by a northern farmer, but our colonel was, because of the royal connection, obliged to turn it down. (This small matter will not be recorded anywhere accessible, now: I only know of it as at the time, as an Orderly Room corporal I was responsible for dealing with much of the CO’s official correspondence and handled both letters. I thought it a nice offer and imagined it would have been accepted, but up to the moment the offer was declined was unaware of our goat’s royal prerogative). There are some very amusing stories about these regimental goats, all of them given an army rank and a daily ration of cigarettes to eat – how they were promoted, demoted, charged under military law for misbehaviour on parade (such as butting inspecting notables who ventured too close), and so on. The goat was in charge of the ‘goat-major’, usually a young lance-corporal.  During my time the goat-major was a ginger-haired Valley youngster on his 2-year compulsory service stint; he was placed on Company Commander’s orders for confiscating the goat’s cigarette ration (at the time 5 of the popular Wild Woodbine brand commonly known as ‘Woodies’) with the absurd notion of smoking them.

ossifers – crachachified: ossifers’ is a humorous, class-orientated  and misspelled metathesis of ‘officers’; ’crachach-ified’, equally class-orientated, means ‘gentrified’, Welsh crachach having the meaning of ‘hoity-toity’, stuck-up, snobbish … but waré têg nawr, fair play to them. In the ‘50s and ‘60s, though, static life in the regimental depot was such – conceptually, to say the least, thus stratified.

jawch:  Also spelt juwch. A popular expression of surprise – seemingly a derivation/corruption of diawl / ‘the devil’ (‘Oh, Heck!’) or  in the case of juwch, possibly (‘Oh, Gawd!’). But I might be wrong.

Marching up and down the square: Marching up and down the square was a favourite hobby of the bellowing, overbearing drill-sergeant. Under his wing the conscript would learn how to do many useful things – how to stand at ease, stand easy, stand to attention, left turn, right turn, about turn, quick march, slow march, march at the double, march in open order, march in close order, one step forward march, one step backward march, advance in review order, mark time, left wheel, right wheel, eyes left, eyes right, halt, slope arms, order arms, port arms, present arms, reverse arms, ground arms, fix bayonets, unfix bayonets … I’ve probably left a few out.  Anyway, many vital things. There are a couple of very funny film skits about Brit drill-sergeants available online: An hilarious one is by Michael Palin of the Monty Python team – try tapping ‘funny drill sergeant’; another is from the unforgettable ‘Dad’s Army’ series, appearing at around 17-21 minutes of the episode ‘Room at the Bottom’. Then there’s the Danny Kaye sketch ‘British Intelligence’ (not especially about drill-sergeants, but taking the rise wonderfully out of the robotic and ridiculously emphasized body movements – the ‘long way up, short way down’ quivering salutes, etc., – of rankers and NCOs). All three guaranteed good for a laugh.

fizzer, two-five-two, QRs. MML, jankers, RPs, MotherBrown: Should a soldier be seen to have committed a wrongdoing, he would be said to be ‘on a fizzer’ (i.e., stand accused) and be placed, in the case of a fairly minor offence, on a charge-report or ‘two-five-two’ (i.e., AF [Army Form] 252), after which he would appear before his Company Commander and be tried according to army regulations (i.e., QRs [Queen’s Regulations] and the MML [Manual of Military Law]), two weighty red-covered tomes which covered everything and was on the 252 couched in the nicest phraseology, e.g., ‘…in that he, at such and such a time, on such and such a date, did, contrary to good order and military discipline…’  If the case was not dismissed, the sentence would normally be a period of some days on kitchen fatigues, extra guard-duty, or perhaps CB [confined to barracks] ). Concerning confinement, for a more serious offence the case would be referred to the CO as Battalion Commander and the sentence might be ‘jankers’.

Now that’s an interesting word, and one which has been interpreted in different ways depending on place and time. During my early ‘career’ with the regiment it was always associated with close confinement or ‘durance vile’ as they’d have said in earlier times – i.e., jail. Although the most mundane and recent origins have been attributed to the term ‘jankers’, I cling to my favourite and much less investigated derivations, one musical, the other fantastic. The first, the musical, is that the word is onomatopoeic, having the jangle and clink (clink! 🙂 ) of shackles and chains. The second, the fantastic, is that it possibly has an ancestry stretching back some two-thousand years to the time when legionary auxiliaries from several regions of the Roman Empire were posted to the British Provinces. There are in Latin a number of words for ‘prison’ the most common being carcer (from whence Welsh carcar ). Of less frequent use is janiculum, which might indicate a military prison (the Janiculum in Rome certainly served famously as such in later times). It’s fascinating to speculate that as a slang term for punishment, janiculum could have survived, as ‘jankers’, from the linguistic repertoire of serving Romano-British soldiers!

If you were unfortunate enough to become a military jailbird, you would be marched everywhere under the eye of an RP (Regimental Policeman), and it could be in a rapid ‘hup! hup! hup! hup! leg exercise. ‘Knees up Mother Brown’  is a boisterous, leg-kicking song originating, probably in the 1800s, in London’s East end pubs. It saw a popular revival during the 1930s/‘40s WWII years.

blanco belts and gaiters: ‘Blanco’ – a white or light coloured waxy substance which came in little round tins like boot-polish tins; the same stuff as used to whiten daps/pumps/gymshoes. The word is of course associated with the Spanish of the same name. The blanco used in the 23rd was, for fatigues or battledress, of a light green, but for No.1 (parade) dress it was white. Gaiters … well, I don’t think they’re the height of fashion any more. They were tough canvas articles about 10 inches long and 5 high each with two straps and buckles which, stiffened with a coat of blanco, could be wrapped about the ankles, the top half covering the trouser-bottoms and the lower half covering the boots. Higher boots would have done a better job, and the saying was that the only reason for the existence of gaiters was so that they could be blancoed. It was important that the conscript be kept busy.

gunge: A gooey mess – mud, in this case, and to be crawled through on one’s belly while negotiating the rigours of an obstacle course, on a route-march, or out on a planned exercise. It’s used in the ‘foot in the waste paper bin’ sequence of the Danny Kaye clip mentioned above, but appears in the captions as ‘gum’.

Welsh, not ‘Welch’ : The 17th-century English orthography – the alien-looking ‘Welch’ continued to be used for a very long time. It was still in use during my time with the regiment, but has also, so I understand, been replaced by the normal, and to many more acceptable,‘Welsh’. Among some, the traditional quaintness of the 17th century version is no doubt still favoured. 

mun: A form of address commonly used in various parts of Wales. It’s close to the usual English ‘man’, I suppose – except that it has a quite different and distinct measure of cameraderie, a more warm and friendly feel to it. Yes, there’s a big difference. They’re nothing like the same. More friendly. In fact, where I come from – Llanelli – if you were to venture to say that these two are no different and just the same and what are you talking about, and it happened to be a Saturday night and if it happened that the Scarlets happened not to have won, you might get knocked down.  🙂

Tadcu, the Borderers, the Forty-first: Welsh tadcu = ‘grandfather. The Borderers are the 24th regiment of foot, the South Wales Borderers, formed in the same year as the 23rd and famous for their action at Rorke’s Drift, South Africa, which featured in the 1964 blockbuster film Zulu. The Forty-first are the Welch / Welsh Regiment (although not formed until much later, the matter of an archaic spelling is, peculiarly, the same). All three regiments are now amalgamated into a single regiment of armoured infantry known as the Royal Welsh (and they finally got the spelling right).

Manifestations of the Muse (2)


My Pallid Queen


‘Twas in the brook Lieti
I first beheld my lady;
she gazed upon the waters
          running green.


Her kirtle held she to her thighs,
and dreamland’s mists were in her eyes
as gazed she at the freshet
          flowing free.


She was a sprite, a slender reed,
a graceful water bird, I deemed,
an airy nymph, this maid
          upon the stream.


A faery vision pale, and all
my lifelong hopes were hers in thrall   
that moment, when I saw her
          in the stream.


The water plashing those fair limbs
pronounced she knew no earthly sin;
and all the world as innocent
          as she.


And as I held her face, her form,
I knew her holy as the dawn
that smiles upon the earth
          afresh and clean.


In her I saw all women fair,
all tenderness, all love, all care,
the sum of all that maidenhood
          could mean.


I moved a mite so she would note
this wan and callow youth’s approach,
and prayed that breath would not
          disturb the dream.


And as my glance about her played
she shook her hair to disarray,
and lowered eyes, and smiled
          upon the stream.


Oh! Dare I cross the water green,
to see her close, to touch my queen?
(Her lovely eyes uplifted
          from the stream.)


My pounding heart, my breathing taut
betrayed my feelings, as I sought
to stand among the ripples
          at her knee.


And O, the glory when that gaze
lit to my eyes, and I, amazed,
flushed o’er and mumbled words
          as in a dream.


I wound her in a shy embrace,
and placed my palms about her face;
her kirtle fell awash
          amid the stream.


We trembled at that touch, but ere
her closèd eyes did open – there,
a tear plunged, a-tumble
          to her cheek.


She smiled all sad. Without a sound
took up her kirtle, turned a-round,
and walked into the shadowed
          waters green.


One moment walking there, then naught –
but therewith on the bank, methought,
her figure, silent, and her
          sad eyes’ gleam.


O maiden, wait! You are my love!
Stay with me, by the gods above!
I know, oh know I love you,
          pallid queen!


With frame a-tremble, heart a-pound,
I searched, and called, but never found –
and knew, oh knew, I’d lost
          my pallid queen!


          ~~~~~~~~~~~~~~~


That newfound love, so strong, so deep,
should let such chords of sadness creep
about my youthful heart
          was hard to bear.


A lacerating sorrow cleaved
through all my days. Like wind-blown leaves
I drifted o’er life’s byways,
          o’er life’s fields.


I searched for her through all the years,
with secret doubts, and secret fears
(How was it that I lost
          my pallid queen?)


I found her once, but in the world;
when street and throng and time and churl
had scathed me well and scarred
          my pallid queen.


We could have loved, who knows, who knows,
but carking cares and worldly woes
assailed our souls. I lost
          my pallid queen.


          ~~~~~~~~~~~~~~~


No longer callow youth and wan
but passing three-score years and one,
I know, oh know I’ll find
          my pallid queen!


O Goddess! I love you to the end,
as when I saw the waters bend
about your feet and faltered
          at the stream!


And in the brook Lieti,
where first I saw my lady,
I gaze upon the waters
          running green.



(From ‘The Lost Manuscripts’)

Note:  Of the full 26 stanzas above, the first 13 appeared separately as ‘The Lure of the Naiad’ in Poems from The Armoured Isle (3)  in the Aug-Oct 2020 section of The Igam-Ogam Mabinogion. In a modified form, 5 will also occur in the upcoming‘ Ballad of Tristame and Goldemar’.

The protagonist’s perplexity in stanza 22 ‘I found her once, but in the world … ‘  brings to mind Matthew Arnold’s lines to his Marguerite in ‘The Terrace at Berne’: ‘Or shall I find thee still, but changed, ….. /  With all thy being re-arranged, / Pass’d through the crucible of time:’ . At all events, the poet had likewise to admit that his was a lost love.



Apologia: I appear to have accidentally blotted out my fully-working version of The Ig-Og, and will for a little while be unable to respond to comments offered. if you wish to add any for ‘My Pallid Queen’ they would, as always, be much welcomed and appreciated and I will respond to them as soon as possible.

It’s been a whole unusual ten months, too, since a poem was posted – and now that things are looking up again that is something I propose to remedy straight away, Best wishes to all!

Without a City Wall: An Easter Thought 

All sudden,
the trill of the small brown thrush
that chirruped by
the Kidron’s chattering rush
stopped short –
stilled by… What? Some mad
intensity of hammering
, erupting
from beyond the city’s northern wall …


(From ‘Of Gods and Men’)



Beyond the northern wall of the Old City of Jerusalem lay its execution ground. This was the hill known in Greek as Golgotha (the Place of the Skull), and in Latin (according to the four canonical Christian Gospels), Calvary. Crucifixion was a normal Roman method of execution, the standard procedure for sins as small as petty theft. By no means unusual punishment; but the one signified here has, as is well-known, been engraved in countless minds for over two-thousand years. The Kidron is a brook – a wadi, or periodic stream which flows only following heavy rains – mentioned in both the Hebrew and Greek (Christian) Scriptures. Its Kidron Valley runs parallel to Jerusalem’s eastern wall, between the Temple Mount (which is within the wall), and, outside, the Mount of Olives and nearby Gethsemane, all of which are associated with the life and especially the last days of Jesus. The garden of the latter is famously known as the place of his betrayal.

The poem’s title is taken from There is a Green Hill Far Away, the well-known 19th century Easter Passion hymn. Appearing in her 1848 Hymns for Little Children, it was penned by Anglo-Irish poet and hymn writer Cecil Frances Alexander (1818-1895); she also wrote All Things Bright and Beautiful and Once in Royal David’s City, All three songs remain widely popular today.

The inspiration for this brief poem came directly from a single sentence, with its astounding contrast between the moment of affright which abruptly stopped the song of a small bird and a cause and an event wholly outside its compass. It’s from Robert Nichols’ (1893-1944) extraordinary, futuristic and startlingly prophetic 1923 story Golgotha & Co. Born of the colossal hecatomb of The Great War, penned in the squalid disillusionment of its wake and envisioning governance in the aftermath of a second such upheaval, this is an engrossing tale of Wealth and Power v. the People – intertwined with an esoteric dimension cleverly hinged upon the event at Jerusalem. Preceding Orwell’s Nineteen Eighty Four by more than a quarter of a century, it cuts like a laser beam – to march with the times – into goalpost-shifting leadership and sensationalized, suggestion-lulled populations … and, as part of the story, the fickleness, frailty, and fealty of belief.

Anyway: Easter greetings to all who celebrate it!  Pasg Hapus i bawb!

Three Yuan Dynasty Song-Poems


Bleak Horizon
( From the Chinese of Ma Chih-yuan  [ ?1260 – ?1334 CE ] )

Shrivelled vines, aged trees; crows there in the dusk.
A little bridge, a dribbling stream, now someone’s hut.
An ancient road, the west wind, his emaciated horse…
past this heart-stricken man at the edge of the sky,
westward the twilight sun departs.


Clear River Song
( From the Chinese of Ma Chih-yuan  [ ?1260 – ?1334 CE ] )

Woodman, astir! The mountain moon hangs low!
The old fisherman has come to call on you!
You cast aside your firewood and axe.
I’ll take my time and beach my boat.
Let’s find a cosy corner to relax!


Plum Blossom Chant
( From the Chinese of Mei-hua Ne [ Yuan: no dates available ] )

Till the end of day I searched for Spring,
but Spring could not be found,
my shoes of grass worn out by treading
the mountain-tops in cloud.
When I returned I gave a smile,
for toying with plum-blossom, smelled,
already at the branch’s end –
Spring1 Multiplied ten times!



( From my collection ‘Beneath the Silver River: Translations of Classical Chinese Poetry’ )



Note: The Yuan was the Mongol-led dynasty which ruled over China 1280-1368 CE.

The first two ‘Song-Poems’, by Ma Chih-yuan, were originally taken from Yuan period drama. The tune title of the first is Sky-Clear Sand. To accord with its uncompromisingly drear content I’ve given it the poem title which appears above (this poem I took as the basis for   … to Seek, at Last, The Hollow Land which appeared very recently in The Igam-Ogam Mabinogion under the main article title Westward Walking). The title of his second, welcomingly brighter-themed poem remains that of the befitting tune-title, Clear River Song; this is one of the many early Chinese poems which extolls rustic companionship.

The third song-poem, Plum Blossom Chant, is an engaging piece which stands on its own. The poet’s name, Mei-hua Ne, translates as ‘Plum Blossom Sister’, and in the sole example I’ve come across of this poem, John Turner refers to her as ‘a Buddhist nun’, which seems appropriate and plausible enough.

Westward Walking… 

…to Find, at Last, the Hollow Land

A lone haggard man on a bony nag
at the beck of a dying sun,
an impoverished disc where the earth meets the sky,
a bleak eye reflected in water which lies
in every rut crowding his way –
each one with its sullen brown surface;
each one with its rim hoary-rimed.
A weak eye – but resolute, compelling him on.

And the landscape is drear, one of broken abodes,
scattered as promises along the gaunt miles.
A few bare-branched trees, mildewed blue-green,
the crows hunched upon them like ragged black lies.
He rides on, resigned, to the edge of the world
and away from a past he could never descry,
nor revise, nor relive, nor reclaim,
that he used in the one way allotted to him.
It had flickered, and faltered, and was guttering, now –
but had burned, all along, in the one way he knew.

(From ‘Memories, Moods, Reflections’ )


Do you know where it is – the Hollow Land?
I have been looking for it now so long, trying to find it again — the Hollow Land — for there I saw my love first. I wish to tell you how I found it first of all; but I am old, my memory fails me… but what time have we to look for it, or any good thing; with such biting carking cares hemming us in on every side – cares about great things… or rather little things enough, if we only knew it. Lives past in turmoil, in making one another unhappy… making those sad whom God has not made sad… what chance for any of us to find the Hollow Land?

[From ‘Struggling in the World’, Chapter 1 of The Hollow Land, an early romance of William Morris first published in The Oxford and Cambridge Magazine in October, 1856.]


…to Find, at Last, the Hollow Land  is my extended rendition, modelled on and adapted from a song by the Yuan Dynasty’s Ma Chih-yuan (c.1260 – c. 1324 CE).

Oh, you Big Beast!

A Sunnit to the Big Ox
(Composed while standing within two feet
of him, and a’tuchin of him now and then.)


All hale! thou mighty annimil  – all hale!
You are 4 thousand pounds, and am purty wel
Perporshund, thou tremendjus boveen nuggit!
I wonder how big yu was when yu
Was little, and if yure mother would no yu now
That yu’ve grone so long, and thick, and fat;
Or if yure father would rekognise his ofspring
And his kaff, thou elephanteen quadrupid!
I wonder if it hurts yu much to be so big,
And if yu grode it in a month or so.
I spose when yu was young tha didn’t gin
Yu skim milk but all the creme yu could stuff
Into yore little stummick, jest to see
How big you’d gro; and afterward tha no doubt
Fed yu on oats and hay and sich like,
With perhaps an occasional punkin or squosh!
In all probability yu don’t know yu’re anny
Bigger than a small kaff; for if yu did
Yude break down fences and switch yure tail,
And rush around and hook and beller,
And run over fowkes, thou orful beast.
O, what a lot of mince pies yude maik,
And sassengers, and your tail,
Whitch can’t weigh fur from forty pounds,
Wud maik nigh unto a barrel of ox-tail soup,
And cudn’t a heep of staiks be cut off you,
Whitch, with salt and pepper and termater
Ketchup, wouldn’t be bad to taik.
Thou grate and glorious inseckt!
But I must close, O most prodijus reptile!
And for mi admiration of yu, when yu di,
I’le rite a node unto yure peddy and remanes,
Pernouncin yu the largest of yure race;
And as I don’r expec to have half a dollar
Again to spair for to pay to look at yu, and as
I ain’t a dead head, I will sa, farewell.

Anon. (19th century).






A small glossary for the more likely problem words:


sunnit:
‘sonnet’, though obviously here not pertaining to the prescribed poetic form of 14 lines. It refers to another more general and less frequent usage meaning simply a ‘little song’

tha didn’t gin:  ‘they didn’t give’

a node:
‘an ode’

peddy:  At first I thought it could mean a ‘paddock’, an enclosure for horses, cattle, and other large animals, a ‘pad’ being a path on which to roam. In ‘paddock’, the word generally used, the ‘-ock’ serves as a diminutive suffix, as in, e.g., (and aptly here) ‘bullock’. Or … ‘pedigree’? That’s a possibility. ‘Body’, too, would make sense; on the whole, I’d go for that. Any suggestions?


A neat poem, I thought. Witty. The language used is funny. Now I wish I’d used ‘yu’ / ‘yu’d’ etc., in Revenge of the Black Dog, just recently posted, and I’m thinking of going back and doing just that.

I found this ‘Big Ox’ poem in an old collection, undated but from the cover decoration typical of the 1920s, and a time when it was ‘the thing’ to fiddle about with spelling in comic verse. It’s an English publication, and I thought that the ‘countrified’ style must indicate the deepest English farming  south, Bedfordshire’s green spreads or thereabouts. I expected it to be that. But on a second reading, there were plain signs that it was American (the mentions of pumpkin and squash – not unknown in England, admittedly, but decidedly more popular in America – tomato ketchup, half a dollar, and a term such as ‘dead head’). So then I paid closer attention and took proper notice of the ‘purty’, the ‘kaff’, the ’spose’, the ‘beller’ and the ‘fur’.  The ‘purty’ with its re to ur metathesis stood out, and the ‘kaff’ with its short vowel clinched it as a poem from across the Atlantic. As to the words first mentioned, I took a look at what I have on etymologies / archaic language / historical slang, etc. (always leaving The Great God Google as a very last resort, otherwise why did I buy these tomes years ago? ‘What’s the point of owning a mace if you don’t use it?’), discovering that tomato ketchup was concocted first in America as early as 1812, and that deadhead (a term new to me), having the meaning of a person who hasn’t paid for an entrance ticket and therefore eminently suitable as it appears in the closing line, originated in the USA in 1849, becoming anglicized c.1864.  In the course of time words naturally travel in more than one direction. I’d venture to place this lovable contribution to humorous verse around the third quarter of the 19th c.

Nights with Cleo

A Light Look at the Famous Flirtation

Deep in the reed beds,
she and I.
(Papyrus, you know,
and crocodiles?)

Legions of smackers,
Oh – One, two, three!
While Nile slid by
most lazily.

I would have lingered
for four, five, six
(like suction pads,
those ruby lips).

But those Niley nights
were not to last –
‘cos Gus turned up.
Yep, damn and blast…!


(From ‘Of Goddesses and Women’ )



It’s a well-known story. Still…


While on a sightseeing holiday in Egypt with his large tour-group, Tony spots Cleo, a local beauty queen. They hit it off, and she persuades him that it’s okay to book in at a place called ‘The Palace’. Always anxious to oblige a lady, before you could say ‘Robert’s your father’s brother’ it’s a done deal. For an enjoyable little while they’re deliriously happy. Then along comes Ocky, aka ‘Gus’, Tony’s rival from home, leading his own equally big tour-group on a cruise around the coast of Greece. Gus had heard all about Tony’s shenanigans with Cleo, and didn’t approve of it at all (In fact, he was feeling quite belligerent about it). Well, Tony goes out to sort it out with him, but in one heck of a bust-up, gets soundly clobbered and commits suicide, as does poor Cleo.




Cleo  =  Cleopatra VII, Queen of Egypt. She had previously been mistress of Julius Caesar. She had two children by Tony; their daughter, Cleopatra Selene II, became Queen of the Roman client-state of Mauretania.

Tony =  Marcus Antonius ( Shakespeare’s Mark Antony); along with Octavian (and a Lepidus not in the story), one of the three joint rulers at Rome: Tony’s commitment, however, had shifted to Egypt and Cleo.

Gus  =  Augustus ; we shouldn’t really call him ‘Gus’ yet, as he wasn’t named ‘Augustus’ (‘exalted’) until three years later. During the time of Tony and Cleo’s romance, he should properly be ‘Ocky’/‘Octavian’; but is much more famously known as Augustus. 

Ocky =  Octavian – Along with Tony and the Lepidus not in the story, one of the three joint rulers at Rome. Apart from the business of power politics, Tony had upset him by divorcing his sister Octavia in favour of Cleo.


Epilogue:

It’s said they were buried side by side.
But who was it said that? Was it a lie
for the sake of a story, and romance, and style?
Did a Roman give answer?
Or some latter romancer?