Collected Poems 1945-1990
Page 4
The hills had grace, the light clothed them
With wild beauty, so that I thought,
Watching the pattern of your slow wake
Through seas of dew, that you yourself
Wore that same beauty by the right of birth.
I know now, many a time since
Hurt by your spite or guile that is more sharp
Than stinging hail and treacherous
As white frost forming after a day
Of smiling warmth, that your uncouthness has
No kinship with the earth, where all is forgiven.
All is requited in the seasonal round
Of sun and rain, healing the year’s scars.
Unnatural and inhuman, your wild ways
Are not sanctioned; you are condemned
By man’s potential stature. The two things
That could redeem your ignorance, the beauty
And grace that trees and flowers labour to teach,
Were never yours, you shut your heart against them.
You stopped your ears to the soft influence
Of birds, preferring the dull tone
Of the thick blood, the loud, unlovely rattle
Of mucus in the throat, the shallow stream
Of neighbours’ trivial talk.
For this I leave you
Alone in your harsh acres, herding pennies
Into a sock to serve you for a pillow
Through the long night that waits upon your span.
The Labourer
There he goes, tacking against the fields’
Uneasy tides. What have the centuries done
To change him? The same garments, frayed with light
Or seamed with rain, cling to the wind-scoured bones
And shame him in the eyes of the spruce birds.
Once it was ignorance, then need, but now
Habit that drapes him on a bush of cloud
For life to mock at, while the noisy surf
Of people dins far off at the world’s rim.
He has been here since life began, a vague
Movement among the roots of the young grass.
Bend down and peer beneath the twigs of hair,
And look into the hard eyes, flecked with care;
What do you see? Notice the twitching hands,
Veined like a leaf, and tough bark of the limbs,
Wrinkled and gnarled, and tell me what you think.
A wild tree still, whose seasons are not yours,
The slow heart beating to the hidden pulse
Of the strong sap, the feet firm in the soil?
No, no, a man like you, but blind with tears
Of sweat to the bright star that draws you on.
An Old Woman
Her days are measured out in pails of water,
Drawn from the pump, while drops of milkless tea,
Brewed in the cup, record the passing hours.
Yet neither tea nor heat of the small fire,
Its few red petals drooping in the grate,
Can stop the ice that forms within her veins,
And knots the blood and clouds the clear, blue eye.
At edge of night she sits in the one chair,
That mocks the frailness of her bones, and stares
Out of the leaded window at the moon,
That amber serpent swallowing an egg;
Footsteps she hears not, and no longer sees
The crop of faces blooming in the hedge
When curious children cluster in the dusk,
Vision being weak and ear-drums stiff with age.
And yet if neighbours call she leans and snatches
The crumbs of gossip from their busy lips,
Sharp as a bird, and now and then she laughs,
A high, shrill, mirthless laugh, half cough, half whistle,
Tuneless and dry as east wind through a thistle.
Farm Child
Look at this village boy, his head is stuffed
With all the nests he knows, his pockets with flowers,
Snail-shells and bits of glass, the fruit of hours
Spent in the fields by thorn and thistle tuft.
Look at his eyes, see the harebell hiding there;
Mark how the sun has freckled his smooth face
Like a finch’s egg under that bush of hair
That dares the wind, and in the mixen now
Notice his poise; from such unconscious grace
Earth breeds and beckons to the stubborn plough.
The Minister
Characters
Narrator The Minister
Davies Buddug
Narrator
In the hill country at the moor’s edge
There is a chapel, religion’s outpost
In the untamed land west of the valleys,
The marginal land where flesh meets spirit
Only on Sundays and the days between
Are mortgaged to the grasping soil.
This is the land of green hay
And greener corn, because of the long
Tarrying of winter and the late spring.
This is the land where they burn peat
If there is time for cutting it,
And the weather improves for drying it,
And the cart is not too old for carrying it
And doesn’t get stuck in the wet bog.
This is the land where men labour
In silence, and the rusted harrow
Breaks its teeth on the grey stones.
Below, the valleys are an open book,
Bound in sunlight; but the green tale
Told in its pages is not true.
‘Beloved, let us love one another,’ the words are blown
To pieces by the unchristened wind
In the chapel rafters, and love’s text
Is riddled by the inhuman cry
Of buzzards circling above the moor.
Come with me, and we will go
Back through the darkness of the vanished years
To peer inside through the low window
Of the chapel vestry, the bare room
That is sour with books and wet clothes.
They chose their pastors as they chose their horses
For hard work. But the last one died
Sooner than they expected; nothing sinister,
You understand, but just the natural
Breaking of the heart beneath a load
Unfit for horses. ‘Ay, he’s a good ’un,’
Job Davies had said; and Job was a master
Hand at choosing a nag or a pastor.
And Job was right, but he forgot,
They all forgot that even a pastor
Is a man first and a minister after,
Although he wears the sober armour
Of God, and wields the fiery tongue
Of God, and listens to the voice
Of God, the voice no others listen to;
The voice that is the well-kept secret
Of man, like Santa Claus,
Or where baby came from;
The secret waiting to be told
When we are older and can stand the truth.
O, but God is in the throat of a bird;
Ann heard Him speak, and Pantycelyn.
God is in the sound of the white water
Falling at Cynfal. God is in the flowers
Sprung at the feet of Olwen, and Melangell
Felt His heart beating in the wild hare.
Wales in fact is His peculiar home,
Our fathers knew Him. But where is that voice now?
Is it in the chapel vestry, where Davies is using
The logic of the Smithfield?
Davies
A young ’un we want, someone young
Without a wife. Let him learn
His calling first, and choose after
Among our girls, if he must marry.
There’s your girl, Pugh; or yours,
Parry;
Ministers’ wives they ought to be
With those white hands that are too soft
For lugging muck or pulling a cow’s
Tits. But ay, he must be young.
Remember that mare of yours, John?
Too old when you bought her; the old sinner
Had had a taste of the valleys first
And never took to the rough grass
In the top fields. You could do nothing
With her, but let her go her way.
Lucky you sold her. But you can’t sell
Ministers, so we must have a care
In choosing. Take my advice,
Pick someone young, and I’ll soon show him
How things is managed in the hills here.
Narrator
Did you notice the farm on the hill side
A bit larger than the others, a bit more hay
In the Dutch barn, four cows instead of two?
Prosperity is a sign of divine favour:
Whoever saw the righteous forsaken
Or his seed begging their bread? It even entitles
A chapel deacon to a tame pastor.
There were people here before these,
Measuring truth according to the moor’s
Pitiless commentary and the wind’s veto.
Out in the moor there is a bone whitening,
Worn smooth by the long dialectic
Of rain and sunlight. What has that to do
With choosing a minister? Nothing, nothing.
Thick darkness is about us, we cannot see
The future, nor the thin face
Of him whom necessity will bring
To this lean oasis at the moor’s rim,
The marginal land where flesh meets spirit
Only on Sundays and the days between
Are mortgaged, mortgaged, mortgaged.
But we can see the faces of the men
Grouped together under the one lamp,
Waiting for the name to be born to them
Out of time’s heaving thighs.
Did you dream, wanderer in the night,
Of the ruined house with the one light
Shining; and that you were the moth
Drawn relentlessly out of the dark?
The room was empty, but not for long.
You thought you knew them, but they always changed
To something stranger, if you looked closely
Into their faces. And you wished you hadn’t come.
You wished you were back in the wide night
Under the stars. But when you got up to go
There was a hand preventing you.
And when you tried to cry out, the cry got stuck
In your dry throat, and you lay there in travail,
Big with your cry, until the dawn delivered you
And your cry was still-born and you arose and buried it,
Laying on it wreaths of the birds’ songs.
But for some there is no dawn, only the light
Of the Cross burning up the long aisle
Of night; and for some there is not even that.
The cow goes round and round the field,
Bored with its grass world, and in its eyes
The mute animal hunger, which you pity,
You the confirmed sentimentalist,
Playing the old anthropomorphic game.
But for the cow, it is the same world over the hedge.
No one ever teased her with pictures of flyless meadows,
Where the grass is eternally green
No matter how often the tongue bruises it,
Or the dung soils it.
But with man it is otherwise.
His slow wound deepens with the years,
And knows no healing only the sharp
Distemper of remembered youth.
The Minister
The Reverend Elias Morgan, BA:
I am the name on whom the choice fell.
I came in April, I came young
To the hill chapel, where long hymns were sung
Three times on a Sunday, but rarely between
By a lean-faced people in black clothes,
That smelled of camphor and dried sweat.
It was the time when curlews return
To lay their eggs in the brown heather.
Their piping was the spring’s cadenza
After winter’s unchanging tune.
But no one heard it, they were too busy
Turning the soil and turning the minister
Over and under with the tongue’s blade.
My cheeks were pale and my shoulders bowed
With years of study, but my eyes glowed
With a deep, inner pthisic zeal.
For I was the lamp which the elders chose
To thaw the darkness that had congealed
About the hearts of the hill folk.
I wore a black coat, being fresh from college,
With striped trousers, and, indeed, my knowledge
Would have been complete, had it included
The bare moor, where nature brooded
Over her old, inscrutable secret.
But I didn’t even know the names
Of the birds and the flowers by which one gets
A little closer to nature’s heart.
Unlike the others my house had a gate
And railings enclosing a tall bush
Of stiff cypress, which the loud thrush
Took as its pulpit early and late.
Its singing troubled my young mind
With strange theories, pagan but sweet,
That made the Book’s black letters dance
To a tune John Calvin never heard.
The evening sunlight on the wall
Of my room was a new temptation.
Luther would have thrown his Bible at it.
I closed my eyes, and went on with my sermon.
Narrator
A few flowers bloomed beneath the window,
Set there once by a kind hand
In the old days, a woman’s gesture
Of love against the childless years.
Morgan pulled them up; they were untidy.
He sprinkled cinders there instead.
Who is this opening and closing the Book
With a bang, and pointing a finger
Before him in accusation?
Who is this leaning from the wide pulpit
In judgment, and filling the chapel
With sound as God fills the sky?
Is that his shadow on the wall behind?
Shout on, Morgan. You’ll be nothing tomorrow.
The people were pleased with their new pastor;
Their noses dripped and the blood ran faster
Along their veins, as the hot sparks
Fell from his lips on their dry thoughts:
The whole chapel was soon ablaze.
Except for the elders, and even they were moved
By the holy tumult, but not extremely.
They knew better than that.
It was sex, sex, sex and money, money,
God’s mistake and the devil’s creation,
That took the mind of the congregation
On long journeys into the hills
Of a strange land, where sin was the honey
Bright as sunlight in death’s hive.
They lost the parable and found the story,
And their glands told them they were still alive.
Job looked at Buddug, and she at him
Over the pews, and they knew they’d risk it
Some evening when the moon was low.
Buddug
I know the place, under the hedge
In the top meadow; it was where my mam
Got into trouble, and only the stars
Were witness of the secret act.
They say her mother was the same.
Well, why not? It’s hard on a girl
And boys are scarce: and the ones we’d marry
Are poor or shy. But Job’s got money,
And his wife is old. Don’t look at me
Like that, Job; I’m trying to listen
To what the minister says. Your eyes
Scare me, yet my bowels ache
With a strange frenzy. This is what
My mother and her mother felt
For the men who took them under the hedge.
Narrator
The moor pressed its face to the window.
The clock ticked on, the sermon continued.
Out in the fir-tree an owl cried
Derision on a God of love.
But no one noticed, and the voice burned on,
Consuming the preacher to a charred wick.
The Minister
I was good that night, I had the hwyl.
We sang the verses of the last hymn
Twice. We might have had a revival
If only the organ had kept in time.
But that was the organist’s fault.
I went to my house with the light heart
Of one who had made a neat job
Of pruning the branches on the tree
Of good and evil. Llywarch came with me
As far as the gate. Who was the girl
Who smiled at me as she slipped by?
Narrator
There was cheese for supper and cold bacon,
Or an egg if he liked; all of them given
By Job Davies as part of his pay.
Morgan sat down in his white shirt-sleeves
And cut the bacon in slices the way
His mother used to. He sauced each mouthful
With tasty memories of the day.
Supper over, can you picture him there
Slumped in his chair by the red fire
Listening to the clock’s sound, shy as a mouse,
Pattering to and fro in the still house?
The fire voice jars; there is no tune to the song
Of the thin wind at the door, and his nearest neighbour
Being three fields’ breadth away, it more often seems
That bed is the shortest path to the friendlier morrow.
But he was not unhappy; there were souls to save;
Souls to be rescued from the encroaching wave
Of sin and evil. Morgan stirred the fire
And drove the shadows back into their corners.
The Minister
I held a seiat, but no one came.
It was the wrong time, they said, there were the lambs,
And hay to be cut and peat to carry.
Winter was the time for that.
Winter is the time for easing the heart,
For swapping sins and recalling the days
Of summer when the blood was hot.
Ah, the blurred eye and the cold vein