Sunday, June 15, 2025

1217 The battles that Saved England by Catherine Hanley A review of sorts

1217 The Battles that Saved England. By Catherine Hanley. Osprey 2024

 

1217 tells the story of a siege and two battles; one on land, one on sea, that ‘saved England’.  As a story it has a great plot and a fascinating cast of characters. But while Hanley writes with the skill of a novelist, her story is true and grounded in a careful use of the available sources.  

 

Background.

 

By 1215 King John and his barons were at an impasse. He had been forced to concede what later became known as Magna Carta, but he had placed England in the hands of the Pope. In a radical about face, the Pope moved from excommunicating John and putting England under Interdict, to declaring the Charter null and void and threatening to excommunicate anyone who rebelled against the rightful King.  In response some of the barons invited Louis, the son of the French King, Phillip Augustus, to become the King of England. 

 

The first French contingent landed in December 1215. Louis set sail with a small invasion fleet in 1216, landed unopposed in May, and was proclaimed King of England on the second of June 1216. Proclaimed, but not crowned. Hanley suggests this was a crucial error while accepting that as an excommunicate he couldn’t take part in a church service.

 

John died in October 1216.  Hanley sees this as the best thing he could have done to help his cause. To anyone placing bets it looked like the Angevins were finished. Large parts of the country were in rebel hands and John’s son, Henry, only nine years old, and surrounded by a shrinking group of royalists. However, while John had often seemed to go out of his way to alienate everyone, Henry was surrounded by a small group of exceptionally capable men. Their acknowledged leader was William the Marshall, ‘Europe’s greatest Knight’. His loyalty to the royal family was both famous and so unshakeable that it could be described as pathological. 

 

 

1217


Hanley tells the story of how those loyal to Henry  staged an improbable military comeback to insure that an Angevin King would stay on the English throne. It is far more entertaining and interesting story than most fictional ones set in the Middle Ages.

 

How much was at stake in 1217 is hard to see in retrospect. For the 90 percent of the population living below the nobility, would it have mattered if a French (Capetian) or a French (Angevin) king were ruling them? 

 

However, Hanley presents the events as crucial in the development of a sense of Englishness. She frames the sea battle off Sandwich as an English fleet defending England against a French invasion. The defeat of the French fleet is compared to the later, more well-known destruction of the Spanish Armada, with Hanley arguing the latter was of lesser consequence.  Hanley also suggests that throughout the war there is a definite shift towards a sense of ‘England vs France’. 

 

At the time, however, nationality might not have played a decisive role: it may have seemed clear cut. Henry was the King’s son. The royalists risked everything and stood by him.

 

Not all the rebels stood by Louis. As the war went on there was significant wavering in their ranks. This may have had little to do with nationalism either. Men who had hated John had no reason to hate his infant son and if successful Louis would be obliged to reward his French followers, but at whose expense? 

 

Hanley has a healthy scepticism about some of the leading players. Without denying the Marshall’s role in the war, she acknowledges his failure to protect the citizens of Lincoln and notes his acquisitiveness.  The Marshall’s flattering biography is one of the chief sources for the period: Hanley avoids both uncritical acceptance and uncritical dismissal. 

 

Likewise, while acknowledging Hubert de Burgh’s essential role in the defence of Dover, her description of his actions at the battle of Sandwich, often claimed as his great victory, doesn’t make his participation a deciding factor in the battle.

 

IF 1217 has a great plot, it also has an outstanding cast. At the centre, though missing from the action for obvious reasons, is Henry III, a nine-year-old boy whose father was disliked by almost everybody, overwhelmed by his coronation. William the Marshall, ‘Europe’s greatest knight’, who at 70 was given the task of regent and the job of saving the Angevin line, enthusiastically charging into battle at Lincoln. Eustace the Monk, renegade pirate who had turned his coat so many times no one knew which was inside or out anymore, leading Louis’ fleet. Wilkin of the Weald, a commoner who led a ‘guerilla’ war against the French; Blanche of Castille, Louis’ wife who could be described as formidable without any exaggeration.

 

Hanley’s contribution to the story is to bring others into the limelight. Phillip D’Albini, who may have been as responsible for victory at the battle of Sandwich as De Burgh. Nichola de la Haye, who in her sixties held Lincoln for the Royalists, held her nerve throughout the siege, and was rewarded by being removed from her post so William Longespee, who had swapped sides during the war, could be rewarded. Hanley describes the regency’s treatment of Nicola as ‘one of the most astonishing acts of ingratitude imaginable’ but adds in a footnote that it was Nicola who ‘had the last laugh’. 

 

If one of the advantages of a book like this is it gives 254 pages to events that are covered in one paragraph of David Carpenter’s biography of Henry the Third, some characters still seem inscrutable. 

 

Louis is a shadow in the narrative. His father had refused the military and financial support that would have given him a formidable invasion force. His campaign stalled first in front of Dover Castle, and then came to a halt when, after the defeat of his army at Lincoln, the reinforcements sent by his wife, Blanche, were destroyed off Sandwich. He wasn’t present at either of the two decisive battles. Hanley’s narrative suggests one of the contributing factors to the French defeats was that no one seems to have been in overall command at crucial times.

 

Floating through this, as invisible as usual, is Isabella of Angouleme. John’s marriage to her in 1200 had been politically disastrous. In 1207 she had given birth to John’s first legitimate child, Henry, and had then given birth to three more children.  She was offered no part in the regency. This seems strange but so was her response. She returned to France at the end of 1217, leaving her son a crowned King, but a child surrounded by advisors. 

 

Because of the limitations of the evidence, there are always questions that will never be answered, but the book also shows history as a series of accidents. Dover did not fall to Louis because it was a strong fortification held by a commander who held his nerve and Louis didn’t have the manpower he needed. But the battle of Lincoln was lost by the French when an inexperienced commander miscounted the oncoming royalists and instead of going out to meet them, where superior French numbers might have won the day, decided to stay inside the city walls. There’s also the secret entrance no one seems to have noticed which would be considered a unacceptable flaw in a fictional account. If the wind had been in the right direction when the French relief fleet originally sailed, then the English would have struggled to meet it, and the reinforcements might have landed. If …

 

1217 surprised me. I don’t like writers who use the first-person plural. Although it used to be common in factual writing it has become corrupted by politicians using it as an invidious positioning technique. But Hanley returns it to its courteous usage. Her style is that of a well-informed, capable guide, and while the tour goes round the usual places, she paces it carefully and stops to provide useful background information. She is very clear in her discussion of the sources. 

 

Books about the Middle Ages that focus on battles tend to misrepresent the period. There’s so much more to Edward III’s reign than Sluys, Crecy, Poitiers and deeds of daring do, but in this case the siege/s of Dover castle, the battle of Lincoln, and the sea battle off Sandwich are crucial events in a pivotal year.  There are times history swings on a hinge and at the end of 1216 a King of France on the throne of England was a distinct possibility. 1217 as a date would then have had had the same prominence in collective memory as 1066. Hanley’s excellent book, ironically, explains why this isn’t so.   

 

 

Saturday, June 14, 2025

Peeping Tom to Lady Godiva. Poems I have written #7



Peeping Tom to Lady G. 



Why should I not desire to hold you in the dark? 

To trace, moon lit, the line from shoulder down to hip,

to leave my lonely fears behind, 

a winter coat now summer’s here.

 

Why should I not desire to make you smile

for me, and me alone; to see you naked,

taste the salt truth of your beauty, 

share your body’s unembarrassed joy.

 

Why should I not desire to know your secret heart:

the self you run from in the name of duty? 

Oh lady, with all reverence,

why should I not desire to hold you in the dark? 



----

From Lady Godiva and Me. Copies of the second edition are available from Lulu.com https://www.lulu.com/shop/liam-guilar/lady-godiva-and-me/paperback/product-14qg5qqv.html?q=lady+godiva+and+me&page=1&pageSize=4


signed copies from www.liamguilar.com


Lady Godiva and Me was originally published by five arches press in England. The second edition was published in Australia. 

Tuesday, June 3, 2025

Gwydion and Uther's stories. from The Fabled Third

 

Gwydion the storyteller 

steps into a version of himself.

The smoky hall lined with iron men,

bright, shiny, awkward,

dreaming a glorious future: 

fame in battle, marriage 

their own estates and children. 

Or rusting to the benches. 

Bent, battle scratched, 

stale veterans going sour 

watching their time leaking away 

like spilt ale down a long hill, 

no longer believing in a future, 

their chances fading like their hair. 


Don’t patronise them.

We are born into stories we did not write.

Happy the men and women at home in theirs.

 

Uther Pendragon, at the high table,

surrounded by his court officials,

attendant lords, and a woman 

with hair the colour of midnight in a cave

laughing with the man beside her.

 

Uther comes towards him,

with the shambling swagger

of a horseman after an epic ride,

shouldering his way through an imagined crowd.

He stops in front of Gwydion,

toe to toe, inspecting him. 

‘I need a bard. Heard you’re good.

Had the last one thrown off the roof.’

 

He smiles, his head to one side,

‘I like that. You didn’t ask me why.

Because you know I’m going to tell you.

He told a story about the House of Brutus,

how The Thin Man had my father killed

then manipulated my brother’s bodyguard

into killing him as well.’[1]

 

He turns towards the muttering faces. 

They’ve all heard that story.

‘Well that’s utter bollocks init.‘[2]

His hands throwing words across the room.

‘A disgruntled servant knifed my dad.

I made enquiries.’ Four syllables, loitering

unpleasantly. Something to be avoided. 

 

‘I fought with Huns. I mean with them 

and against them. Allans, Goths, Lombards. 

I know tribal warriors. These aren’t Romans

who switch loyalties faster than you refill your cups.

It would take some kind of deviant Christ

to pull that miracle; to make 

a tribesman turn on his ring giver.’[3]

 

He saunters back to Gwydion.

‘My court needs a bard. Tell me three stories: 

one now, here, for the drinkers at the benches;

one for my officers in my room;

one for my lady in her chamber. 

Job’s yours if they’re good. If they ain’t, 

we’ll throw you off the roof 

for claiming to be someone you’re not.’ 

 

The storyteller bows. 

 

‘But first, I’ll tell you one.’

 

The drinkers at the benches settle.

The night loses its edge.

Pendragon, chief of warriors;

they admire, respect, adore

although he terrifies them all.[4]

 

‘My brother, the King of Britain,

by right of conquest and inheritance,

decided the British Lords

who’d died on Salisbury plain

deserved a fitting monument.

 

So he holds a great council,

and everyone chips in. 

 

Like all councils, no one can agree.

 

Merlin walks in. The fiend himself.

I’ll get you a monument, he says.

It will stand for eternity.

 

Where is it, asks my brother.

In Ireland, says Merlin 

and we all laughed at him.

 

Except the king, who sends me,

with an army, to get this Giant’s Ring.

The locals pissed themselves 

when they heard why we’d arrived.

They thought it was the best joke, ever.

So we taught them not to laugh at us

and finally arrived on this god-forsaken,

wind-raked hill in the middle of a great green nowhere.

There’s stones. Huge, upright stones.

And we just stood and stared at them.

 

Try moving them, says Merlin.

We dug and pulled and pushed all day. 

The stones stayed put.

Then Merlin mumbles some words 

and did that thing with his hands,

like he’s tying knots in the air.

 

Try now, he says, so to humour him, 

we pushed a stone, and it fell over.

Stone turned to feather!

We hauled them to the coast,

watched by the astonished locals,

then sailed and dragged them

all the way to where you see them now.

A monument to British lords

slaughtered by Hengist and their own stupidity.

 

Now,’ he says to Gwydion, ‘top that.’

 

 

3

 

 

He will not try, 

not knowing how Uther may react

to being beaten here, in this game. 

They will not ask, why this story?

He can only throw the pebble in the pond

He can’t predict how far the ripples run. 

 

‘After The Great Slaughter,[5]

when the tribes were broken 

and the Great Queen died in despair, 

a prince was struggling home. 

 

He’d lost his weapons, 

retainers and horse.

Hadn’t eaten for days.

He stumbled along the valleys,

staggering up and over the hills.

His life could only get worse. 

 

He knows the Romans will steal his cattle 

burn his farm, enslave his kin.

If he gets home, he can’t stop them;

if they find him there, they’ll kill him.

But he keeps on: beaten, not broken.‘

 

Rumbling approval betrays their interest.

Been there; done that.

 

‘It was a dark night, no moon, no stars,

and he’s stumbling along through the trees 

in the valley below Maen Llwyd. 

At the point where the path forks,

he sees in front of him a darkness, 

darker than darkness, and as he watches 

it grows even darker, a shimmering shimmering, 

and the Devil on horseback blocking his path.

 

Down on your luck warrior?

No luck left to be down on. 

Well, says the Devil, 

offering him bread from his bag,

 

I do deals on nights like this, 

with desperate men like you. 

I have nothing to bargain with says our man.

But my friend, says the devil, you do.

 

Seven good years without effort or pain,

safe from your enemy’s eyes, 

wife and children growing old 

with the comforts that money can buy.

 

At the end of those years, 

bring a beast from your farm, 

if I name it, you serve me in hell.

if I can’t, you won’t be harmed, 

and you’ll have been richer as well.’ 

 

He pauses, to let them consider 

if they’d take such an offer.

Even if the devil speaks English

how could he lose?

 

Seven years of pleasure

for an eternity in hell?

The muttering subsides.

They’re waiting to see 

what this warrior will choose. 

 

‘He’d seen the sacred groves in flames.

The druids and their people slaughtered,

the tribes broken on that red, Roman line.

How could Hell be any worse? 

 

So he agreed. Home to his wife. 

They watched the Roman army trooping past. 

 

Seven years to the day, as the sun was setting, 

he said goodbye to his daughters and sons.

What’s ails you husband, have you gone mad?  

She nagged him ‘til he confessed what he’d done. 

 

What an idiot’s bet, but leave it to me,  

the Devil’s a man and men can be fooled.

Put your life in the hands of God and your wife

as every sane husband should do.

 

Bring me bird lime, as much as we’ve got 

and the feathers we pulled from the birds. 

 

Stripped naked, they smeared her with stickiness 

‘til she was covered from navel to head. 

Then she tipped out the feathers all over the floor 

and she rolled and she rolled ‘til she’d covered herself.

Now lead me to your devil with a halter round my neck.

 

At the place where the path splits

the Devil was waiting, 

a gloating darkness. 

He looked at the beast: 

a daughter of Eve 

from her navel on down, 

but the strangest of fowl 

from her navel on up.

 

By my tail, he said, what a terrible sight!

What perverted mating produced such a bird?
I'll be damned if I know what it is. 

Thank you. I’ll take it to hell.

 

That wasn’t our deal!

 

What I said, and I quote:

If I name it, you serve me in hell.

If I can’t, you won’t be harmed, 

and you’ll have been richer as well. 

 

I didn’t mention the beast.

Or your family. Or your farm. 

She’ll make a fine addition 

to the freak shows of hell.

 

The halter was gone from his hand.

 

That sound on the breeze?

It’s my favourite tune.

A Roman patrol, 

with your daughters and sons.

 

Before he could scream, 

take me instead,

he was alone on the road

with the flames of his farm

lighting the way home.’

 

After the silence that followed

Uther is calling his name.

‘This ring is yours.

If the other two are as good

I will be honoured to have you as my bard.’

 

‘My Lord is very generous. 

It would be my honour to serve,

if, at the end of my service,

you will grant me one request.’

 

‘As long as it is in my power,

does not diminish that power,

compromise my honour

or endanger my life or those near to me. 

And that is my promise 

in the hearing of these witnesses.’

 

He can only throw pebbles in the pond.

 




The Fabled Third is published by Shearman and available from online booksellers. Samples, background information and signed copies can be found at www.liamguilar.com
Clicking on the link will open a new window, 


[1] The Thin Man is Vortigern. 

[2] Geoffrey, Wace and Laȝamon narrate the murder of Uther’s father by a disgruntled servant. Pages or lines later, all three have Aurelius state, as a fact, that Vortigern murdered him. 

[3] Throughout this book, Uther’s knowledge of late Imperial history is ‘uneven’ by modern standards. He also seems to know some stray facts and sayings from earlier Greek and Persian times.  

[4] Geoffrey of Monmouth seems to have misunderstood Pendragon and linked the name to a dragon banner made in imitation of a comet. It’s more likely that Pendragon meant chief or first warrior. The story Uther tells is Geoffrey’s explanation of how and why Stonehenge was built. 

[5] This story was suggested by Martin Carthy’s singing of ‘The Devil and the feathery wife’. I’ve changed everything except the terms of the deal and the wife’s solution. The ‘Great Slaughter’: defeat of Boudica’s rebellion at least four hundred years before this story takes place.

Saturday, May 24, 2025

Testimony of one of Sir John Franklin's Officers. Poems I've written #6

 

Testimony of One of Sir John Franklin’s Officers.

 

When I was a child I was promised the ocean:
a trip to the coast, so we rode down to Hastings.
The clouds sagged like a dirty tarpaulin. 
The waves rattled the shingle. The sun 
bradawled a hole though drifting grays
to spotlight the place where sea became sky.

Nanny’s screams were baffled by the wind
but shifting pebbles under stubby legs 
betrayed me to strong hands before the water’s edge. 
Not safe, not saved, restrained. Returned 
to Nanny where I howled. Her voice: 
You big girl’s blouse: big boys don’t cry.

I have forgotten much; first this, first that;
things I should remember. But I do not forget
the sea and the sky and the line where they met;
or that need to stand where the light fell
and peer over the edge of the world. 

 

Franklin and his quest for the North West Passage fascinated me for years. At one time I was seriously considering following his first overland trip down the Coppermine river to the Arctic Ocean.  I began writing a version of the story which I never finished. This surviving piece, which is obviously fictitious, was published in an Anthology of Australian poetry by Bonfire books. 

Friday, May 16, 2025

'Just once' and 'The decorator admires his predecessor's work' Poems I have written #5

 

Just Once.

 

On winter evenings coming home,

the fire was my concern.

If it were dead

I’d have to bring it back to life

before my dad’s return.

 

Often the process failed.

The paper burned the wood, 

the coke refused to catch.

By the third attempt, 

I knew it was no good.

 

The doorbell and the sound of shoes

scraping on the mat. He’d see 

me on my knees, the rubbish in the grate: 

You put the kettle on.

Leave this to me. 

 

I’d watch him do what I had done

and see the flame, promisingly frail

grow 'til the coke was glowing as it should. 

Just once. Just once

I’d pray, while making tea

just once, please, let him fail. 



The Decorator Admires His Predecessor’s Work

 

That’s genius that is. You won’t find many

can do that today. Do what, she asked

wanting the old fashioned wall paper removed.

Craftsmanship. The man who hung that paper

knew his trade. Worked for the thrill of a job

done well. Proud of a skill that proved itself

when no one noticed it. Me, I would give

anything to be that good.  And

 

how long will it take you? Years, Missus.

Study, practice, victories, defeats. This job.

Sorry. Two days. First we strip his work

pull down that old stuff, slap on undercoat

than wallop on the paint you chose last night.

I’d like to take the time to do it right,

then both of us could…By the hour?

Quick, Slick and Outta Here. That’s me.

Whoever hung this paper loved his work.


 

 

Both poems  are from Rough Spun To Close Weave, (Ginninderra press 2012).  Signed copies available from www.liamguilar.com

Thursday, May 15, 2025

From Base Materials by Jenny Lewis, a review of sorts.


 Jenny Lewis, From Base Materials, Carcanet, 2024

Well-written poems provide the pleasure that only well-written poetry can provide, a fact that sometimes get lost on a generation of writers who think that making declarative statements and chopping them into short lines constitutes the best that can be done with the art.

From a re-imagining of the Rubaiyat of Omar Khayyam, via  short illustrated poems reminiscent of Edward Lear, to the outrage and indignation that seethes through her poem for Sarah Everhard, the pleasure of reading Jenny Lewis’s From Base Materials comes from the excellence of its writing and the variety of its content.

Lewis’ previous book include an acclaimed version of the Epic of Gilgamesh and her translation of  Adnan Al-Sayegh’s Let Me Tell you What I Saw. The latter is a book anyone interested in modern poetry, especially long form poetry, should read. The former is the most readable version of Gilgamesh you’re likely to find.

While tightly themed collections of poems all on the same subject allow reviewers to sound profound and provide publishers, if they still publicise books, with snappy publicity shorts, the reading experience can be dreary. There was a time when books had titles like ‘New poems’ and ‘36 poems’. Poets are people who live in the real world, and the real world is various and as humans their reactions to it range widely so why shouldn’t their poems?

From Base Materials moves from the private-domestic, from personal poems in which the writer describes dealing with a mastectomy and the loss of friends, the reality of ‘love in old age’, the wit of ‘Tales from Mesopotamia’ where Gilgamesh’s barber and a street dancer are grumbling, to short translations, humour, moments of reflection and outrage.

 ‘Hearsay’ is a sequence of three short poems (38 lines in total) about Guinivere, Arthur and Lancelot and illustrates many of the strengths of the collection,

If poems are a way of thinking through and in language, then this sequence should offer both the pleasure of itself as a well-made verbal artefact, and comment on the story of Arthur and Guinevere.

The sequence might be asking: Who is Guinevere? In answer, it suggests there are only versions: she seems unsure of, or unhappy with, her identity, while both Lancelot, and Arthur are sure they know who she is, though their versions differ.

In the first poem, ‘Guinevere’, a restless woman, shifts amongst possible identities, waiting for the miracle of recognition.

The poem begins with subversion:  ‘like eve she names the birds/while waiting for miracles’. In the Christian tradition, Eve does not name anything, nor did she wait for miracles. An Eve who did these things would be rebelling against her traditionally assigned role.

However, the line refers to another poem in the collection, ‘As Adam lay sleeping’. Two pages earlier it ends: 

where she, hearing clearly for the first time
the tumultuous singing of the birds,
could set about the task of naming them.

Between ‘As Adam Lay Sleeping’ [with its possible acoustic nod to the repeated line in Kipling’s  ‘Four Angels’] and ‘Hearsay’ is ‘Therefore all seasons shall be sweet to thee…’ dedicated to ‘Eve, born 6 January 2020’, which ends with the poet describing her wishes for the newborn.  The title, as the poem acknowledges, is a line from Coleridge’s ‘Frost at Midnight’.

The sequence ‘Hearsay’ is itself part of a sequence, gaining meaning from other poems in the book, and gaining power by drawing on the wider poetic tradition.   

The birds Guinevere names: ‘owls, peacocks, ptarmigans, doves- ‘ provide a shifting set of possible roles which can only ‘brush against her thoughts’. The list, suggesting restlessness or uncertainty, is followed by suggestions of unhappiness. 

While waiting for miracles, she is ‘polishing the round table, wanting praise.’

A literal reader might object that queens don’t polish tables. But there is a tradition of stories in which queens and princesses are punished by being forced into menial labour or into roles that are at odds with their status. In these stories the essential identity of the woman is either not recognised or not given its due. Here the queen is ‘wanting praise’. Wanting in both senses, lacking and desiring. The phrase suggests her dissatisfaction with her role, with actions that are not in keeping with her sense of her own identity, and explains why she is waiting for miracles.

She does ‘polish’ the Round Table. She brings grace to the gathering and gentles an association of expert killers. She feminises the knights. But that turns her into an adornment, something less than an individual. The fact she wants praise suggests something too about her husband’s attitude. Polishing the table in this sense is a useful activity, but the fact she keeps doing it over and over again suggests no one appreciates her efforts.

In the bath she is ‘angelic, pure, mother of pearl with light bursting from her’. Still not human. As her lover removes his armour piece by piece, ‘the naked hand that held cold steel finds/the warmth of her bird filled body’ while Arthur looks away and sees snipe and plover fall into the net.

Arthur ‘looks away’. Is he looking away as the lovers meet, or is he just watching something else. One of the questions in Malory’s version of this story is at what point does Arthur know his wife is having an affair? The second poem of the sequence, ‘Windhover’, describes the moment he realises the rumours are true.

Like many in the collection it’s a technically impressive poem, and like so many of the poems it draws on literary tradition. While windhover is a dialect name for a kestrel, it’s also the title of one of Gerard Manley Hopkins most famous sonnets. Not only has Lewis used Hopkins title and rhyme scheme, her lines end with the same words as Hopkins’, with one exception, where sillion has been replaced with stallion. The swing and swerve of the world Arthur is looking at is mirrored in the rhythm of the first eight lines.

Such technical excellence is impressive, but on its own it suggests the workshop exercise that proves little but linguistic virtuosity. The question that often goes begging is ‘to what purpose’? Here it suggests Arthur’s complicated relationship with his wife. The sense of awe that pervades Hopkins poem carries over to Arthur’s thoughts about her. But whereas Hopkin’s poem celebrates the glory of creation made specific in a single bird, who masters the elements around it. Arthur is locked into the rhyme scheme of his own misery and his vague awareness of clouds and nameless birds can’t save him from the thought of his wife and friend. Hopkins’ poem also ends;

No wonder of it: sheer plod makes plough down sillion
Shine, and blue-bleak embers, ah my dear,
Fall, gall themselves, and gash gold-vermilion.

There’s no sense of this transformation into beauty here.

He is out riding. The same clouds Guinivere saw from her bath in the previous poem, ‘like scarves stretched  by the wind’ he only sees as ‘a sky full of clouds’. The poem captures the moment when he knew ‘what his heart had been hiding’….that what ‘they said about her must be true’.

Lancelot, riding on a white stallion, [Arthur’s mind slipping on the crude connotations of riding so close to white but saved by stallion instead of mare] has taken away his dear ‘his lady her raven locks her white body and her lips that burn vermillion’. Unlike Hopkins who labours to capture the singularity of a specific bird, if Arthur sees Guinevere at all he only sees surface. Lancelot has not taken away a friend, or a lover, just a ‘dear’ [with its double meaning of object of affection and something expensive] collection of cliched body parts which do not individualise her but reduce her to type. The woman with lips redder than blood, hair darker than the raven’s wing, skin whiter than the snow is today a figure familiar in fairy tales but goes back to medieval times. Such women are also often tragic figures or participants in a tragedy.

The last poem is ‘Falconer’.

He only saw her whiteness, I

saw her as brindled, wild

            like a spirit you call in

across the darkening fields,

I watch her stoop, then come

            to me with flying jesses

her ferocious eyes unhooded

            unerringly mine.

 

While the pronouns in the first line are unattributed, it’s logical to think ‘he’ is Arthur, who mentions his wife’s ‘white body’. The /I/, presumably Lancelot, sees a different version of the woman. [If this were a stand-alone poem the /I/ becomes far more ambiguous and could be both Lancelot and the poet.]

The first line is a criticism of Arthur’s inability to recognise his wife. For Lancelot, she is ‘wild’ ‘a spirit’ her eyes are ‘ferocious’. She is not soft, or prey but predator. Rather than white, he describes her as ‘brindled’, which might be an odd word to describe a woman, since the dictionary associates it with cats and fur, but it is a word Hopkins used in another famous sonnet, ‘Pied Beauty’ which begins:

Glory be to God for dappled things – 
For skies of couple-colour as a brinded cow; 

That poem celebrates:

All things counter, original, spare, strange; 
Whatever is fickle, freckled…

 

Lancelot recognises a version of Guinivere that is perhaps more nuanced than Arthur’s doomed fairytale princess. In her meeting with him her eyes are ‘unhooded’…both the falcon whose hood is removed to let it hunt, and the woman who no longer has to pretend. Does he see her as ‘counter, original, spare, strange’?  Has she achieved the kind of life the poet wishes for Eve at the end of ‘Therefore all season shall be sweet to thee…? Lancelot and Arthur both seem to have found themselves, like Adam in Kipling’s ‘Four Angels’;

Till out of black disaster
He arose to be a master
Of Earth and Water, Air and Fire,
But never reached his heart's desire!

The words in ‘Falconer’ undermine any temptation to accept the final poem as a description of Guinevere’s ‘true nature’. He’s not thinking of her as an individual woman but as a hunting bird. By the end of the sequence, she’s still not free, still defined by her relationship with a man. If she’s the falcon and he’s the falconer, however wild the bird, she has been tamed; she can be ‘called in’. He can proclaim she is ‘unerringly mine’. She isn’t even one of the birds she named. Someone else has named her.

Does she love Lancelot because he sees her as she is? Or does he simply offer her a miracle of limited recognition, an improvement on her husband’s inability to notice her? If so it seems a limited improvement. Beyond this, there is a suggestion that their relationship is dangerous to both of them. The contrast is between a spirit that is wild, and one that can be ‘called in’. Restrained, limited. Brought back to its owner. While the phrase ‘she stoops’, beyond its technical meaning in falconry, and the sense of the bird falling towards the thing it will kill, has an inevitable resonance with the phrase ‘She stoops to conquer’ [a phrase which has floated free of its origins to mean something more threatening], suggesting Lancelot’s self-confidence might be misplaced.  

Reading ‘Hearsay’ like this is not meant to be exhaustive or definitive. But hopefully it suggests some of the qualities of the verse in From Base Materials and the pleasure of reading it.

From Base Materials is an impressive collection. You should read it.

Friday, May 9, 2025

The Devil Tenders his Resignation. Poems I have written #4

The Devil tenders His resignation

 

It hurts Me to admit this but I’ve had enough.

I think it’s time You shut up shop, 

and spent Your dotage in the Garden,

a Saint or Angel on each arm.  

Don’t look at Me like that. 

Remember when they called you Zeus? 

I’ve heard You looking at them.

 

When We split everything three ways:

You got heaven, I got hell, 

and poor Poisidon got the sea.

Why tell You something You already know? 

Be patient. Trust Me. Details matter. 

After early bickering, and some disasters, 

We agreed to a new clause; 

each had to stay out of the others’ realms

and middle earth was out of bounds. 

I want that contract scrapped. We all agreed

humans must be free to choose and then 

denied Ourselves that freedom.

 

You asked for the impossible. 

They want Your admiration, they 

choose kindness, compassion, 

care for the poor, the weak, the old. do all that

and then they’ll be rewarded when they die.

A lunatic’s wager based on wishful thinking.

We worked so hard to make it seem appealing. 

Back in the day, My job to send the imps to whisper:  

Go on, why not, you know it’s what you want to do

Just a job, I did it well, for centuries in every time and place:

Go on, why not, you know it’s what you want to do.

At first there was a joy in mischief. 

When they were caught, when Peter turned them back

they wailed, He made us do it. But We all knew they lied.

They always had a choice. That was the one clause 

You refused to change. I did My job, I did it well.

But I can’t do it anymore. The routes to hell are choked 

with shuffling dead, queuing at the gates like refugees.

Our bureaucracy broke down. 

Camps sprang up to house those waiting to be processed. 

The camp fires of the wretched cast their dull glow on the roof of hell

And the smoky plains before the gate are never dark.

The imps who punish couldn’t cope. We tried recruiting 

from amongst the dead. That was My first mistake. 

We couldn’t mind their savage urge to harm and hurt. 

But when we found them plotting a return to middle earth

we had to shut the program down and terminate the staff.

Some humans are too vile for hell itself. 

  

I vote We pack our bags and leave them to it.   

When I arrived, your gates were rusted open, 

Peter was asleep, and nobody was waiting to get in. 

A few stray angels and a random saint, bored out her mind.

The loud-mouthed fools who claim they do your bidding

have no chance of redemption. Admit it, even You are tired, 

disgusted, disappointed. The Garden and the angels beckon, 

so free Me from my contract. Let Me out of hell.  

The human race has no more need of You,

So sign, there on the dotted line. 

Go on, You know it’s what You want to do.

 


Wednesday, April 30, 2025

After the wedding: a fairy tale. Poems I have written #3

After the Wedding. A Fairy Tale. 



Rush lights and fire’s light

Shadow and shiver.

where the story teller sits.

on the edges of darkness.

 

During the wedding feast,

clatter and scrape 

battered by music 

the baron asking

his old friend the King.

 

This new son in law. 

Never heard of him.

Where’s the family from?

 

Somewhere…

Shouting to be heard

by the man beside him. 

…beyond the forest.

 

But you’ve given him your daughter!

 

I saw the way she looked at him,

I knew what happened next.

It’s better they were married.

 

But she’s had so many suitors.

Remember whatsisname.

Everything a father could want

In a son in law.

 

She wouldn’t even look at him.

This one was different.

He arrived, alone, 

asking for her hand.

He looked penniless 

so I sent him packing

But next day he returned 

with gifts, and the day after, 

and the day after,

each time with an escort

of the best appointed knights 

I’ve ever seen.

And she was smitten. Tonight 

they consummate the marriage:

tomorrow, he takes her to his kingdom.

 

You might never see her again.

That doesn’t bother you?

 

The old king shrugged; 

I’ve got a room full of gold. 

He didn’t ask me for her dowry.

 

2

 

After the music and dancing,

when the wedding guests 

were boisterous and drunk,

the lusty couple hurried to bed.

In the morning, rising early,

they met his escort at the gate

and rode towards the west.

 

The first night of their journey,

they found a clearing in the forest.

The escort made their bed,

beneath a gold embroidered canopy,

retiring to a respectable distance,

in a circle, facing outwards.

 

In the morning the girl awoke.

The silence was impressive.

There was no escort, just a circle 

of dead mushrooms,

and beside her on their bed, 

her beautiful young man was snoring.

 

He had aged a thousand years.

Opening his eyes on the glorious sight 

of his naked, smiling wife.

 

I am sorry that I tricked you.

But not for the days 

and nights we’ve shared

Now that you’ve seen me as I am…

He reached for the nearest weapon.

 

Stupid man, she said, 

stopping his hand. 

I’ve always known,

you had to be a fake.

 

An army made of mushrooms

gold from chrysanthemums 

can bribe my greedy father.

The only thing I trust

is the truth of our affection.

 

She kissed him and he was young again;

the mushrooms were their tactful escort

and they all lived happily ever after.

 

Rushlights and fire’s light

fading and dying

hiding the storyteller’s smile.


Based loosely on an event in the Welsh life of Saint Beuno, where the man is an artisan confused with a Prince. In Beuno's story the man kills the girl as they ride away after their wedding, and Bruno puts her head back on and brings her back to life. The transformative mushrooms are from the Fourth Branch of the Mabinogion. 

This is the third 'experiment' in story telling. It's a work in progress. 

The other two are here:

https://ladygodivaandme.blogspot.com/2024/01/kings-champion-ballad-of-sorts.html

and 

https://ladygodivaandme.blogspot.com/2024/01/taking-possession-story-of-norman.html