The Tide in the River

A short verse stuck in my mind over 20 years ago, and has been playing there off and on out of a proper context. I'm pretty sure it came to me in a book of poems for children, and somewhere along the way I incorrectly connected it with Longfellow; when recently I searched around online for a while I found that the author is Eleanor Farjeon.

Only once that I can remember did the meaning fit with the situation, when I was with my dear husband on a short getaway to celebrate our wedding anniversary. We were staying in the company town of Scotia in way-northern California, where the sawmill is built near the Eel River.

After dinner we walked in the dark around the village of Rio Dell close by, and on our way back to the hotel stopped on the bridge to lean over the rail; we listened to the quiet flowing noise and could barely make out the stream down below. Here was the right time and place, and the verse very nimbly popped into my mind, and I recited:

The tide in the river,
The tide in the river,
The tide in the river runs deep.
I saw a shiver
Pass over the river
As the tide turned in its sleep.

         --Eleanor Farejon

Now we're celebrating that blessed day once more, but we're driving to California's Central Coast this time for our little vacation, to the town of Cambria where we spent part of our honeymoon and which we haven't visited since. Maybe we'll go to the beach this time. Let me see, do I know any beach-y verse I could get ready?

a breathing

The End of Sleep

The eyes are about to open.
Through fog, Sleep crosses the great water—
See how it sails in the little boat?
Slowly, such a long journey,
Bits of light
Catch colors in the mirrored hull.
Beneath the glassy surface, a glimpse
Of your dreams: the lake, the boat, with you
In it. Now a shadow
Falls over you: above the surface,
The figure of Sleep
Has leaned over its boat.
Hear Sleep's feet plop in the shallows—
It pulls the boat to shore.

      -- Elizabeth Twiddy

This morning as I neared the shore of full consciousness, what I saw through the fog was myself, getting dressed and going to church for a Presanctified Liturgy. I was full of happy anticipation. Then I pulled the blinds open and was surprised to see, not the sunny and warm skies of the last few days, but thick and cold white fog.

I've read many people who say they love the fog, and I thought of them right away, wondering why I couldn't be like them. Then I remembered the foggy days of my childhood when in the winter the damp cold would settle over California's Central Valley like a perverse blanket. Not your normal blanket that makes you cozy, but something more like a conduit of chill. My fifth-grade teacher Mrs. Wicks, who came from South Dakota, said she was never so miserable in the dry winters of her youth as she was in our "temperate" weather that froze her to the bone.

The natural and normal tule fog that emerges from the ground after the first winter rains became a dangerous foe once I learned to drive and became aware of all the car crashes on the highways that are a frequent accompaniment to the season. I became familiar with the stiff neck you get peering intently through the wall of white trying not to run into something.

But this morning in March, all of that is far behind me, and for the Valley-dwellers it is likely passed as well by this time of year. So I thought I would look for a poem by one of those fog-lovers. The fog that's outside my window is still a little too cold for my old bones to thoroughly enjoy, but I'm working on it. After all, it's another part of our earthly home that is filled with the breath of God.

The Breathing

An absolute
patience.
Trees stand
up to their knees in
fog. The fog
slowly flows
uphill.
White
cobwebs, the grass
leaning where deer
have looked for apples.
The woods
from brook to where
the top of the hill looks
over the fog send up
not one bird.
So absolute, it is
no other than
happiness itself, a breathing
too quiet to hear.

    ~ Denise Levertov

On the ground with the White Horse.

Last week The Garners posted about G.K. Chesterton's Ballad of the White Horse, which caused me to dig out my cassette tapes of the author reading his own poem -- how thrilling! Too bad they were made from a scratchy recording so that it's very hard to appreciate the poem itself. Still, the directness of the connection to the very voice and person of the poet mean a lot to me.

What made me interested in the Ballad in the first place was taking a trip to Britain with daughter Pippin nine years ago. We both very much wanted to see White Horse Hill in Uffington while we were there, and we found it quite empty of any other humans the day we visited. We hiked up the hill to the chalk art that is thought to be 2,000 to 3,000 years old, and wandered around the horse's anatomy. We couldn't pull ourselves away. I just could not get over -- here it is again -- the earthy material link to ancient peoples and the mysteries of their culture and history.

One thing we share with the ancient people who carved the trenches of this design is human nature, the gifts of the Creator who made us in His image, glorious even in a tarnished condition. The horse reveals the creative aspect of that image, and Chesterton's ballad shows his own artistry while it tells a human and Christian tale set in King Alfred's day. The imagery in this stanza, which I think pertinent to the Lenten season, illuminates another aspect of our humanity that we share with our ancestors: the impulse to stand before God in worship, fighting with the desire to be God:

Pride juggles with her toppling towers,

They strike the sun and cease,

But the firm feet of humility

They grip the ground like trees.  

                       -G.K. Chesterton, The Ballad of the White Horse

Thinking again about this world history and my history, I want to revisit the horse vicariously, by means of the poem slightly more removed from the poet than my old cassettes. So I just ordered this edition of the book, which I think is the one I bought two copies of in the past for gifts. The American Chesterton Society will be sending me this CD, read by Aidan Mackey, who sounds as though he is very likely, once I put that disk in the player, to send me right back to England and White Horse Hill.

Linking up to Weekends With Chesterton

the satisfaction of pride

This poem would have been perfect for the Sunday of the Publican and the Pharisee, but I don't want to wait another year to post it. Anyway, something on pride is very fitting for Lent.

The Seven Deadly Sins

Forget about the other six, says Pride.
They’re only using you.
Admittedly, Lust is a looker,
but you can do better.

And why do they keep bringing us
to this cheesy dive?
The food’s so bad that even Gluttony
can’t finish his meal.

Notice how Avarice
keeps refilling his glass
whenever he thinks we’re not looking,
while Envy eyes your plate.

Hell, we’re not even done, and Anger
is already arguing about the bill.
I’m the only one who
ever leaves a decent tip.

Let them all go, the losers!
It’s a relief to see Sloth’s
fat ass go out the door.
But stick around. I have a story

that not everyone appreciates—
about the special satisfaction
of staying on board as the last
grubby lifeboat pushes away.

-- Dana Gioia

Published in First Things Aug/Sept 2010

Kinds of Poetry - Tolkien vs. Jackson

Jackson apparently thinks the characters Tolkien gives us are too simply good to be fully believable to modern audiences, and so he feels obligated to "complicate" them, to give them internal conflicts other than the ones they actually have, in the hopes that we will better be able to relate to them.

I'm quoting from this article in the Nov/Dec 2013 Touchstone Magazine, in which Donald T. Williams explains how literature, while delighting us with its art, is more powerful than history or philosophy to nurture our moral vision, or to corrupt us with false images.

With the help of quotes from Sir Philip Sidney, who wrote Apology for Poetry in the sixteenth century, he shows how "Tolkien was very consciously and deliberately following the literary tradition that flows down to us from Sidney through Dr. Johnson and C. S. Lewis."

Peter Jackson the filmmaker seems to be flowing in a different stream. But he is an artist, and of course will impart his own soul to his work. I wouldn't expect him to give us The Rings, because that has already been done, and he is not J.R.R. Tolkien. But it is unfortunate that he has changed things to the degree and in the directions he has. Williams points out specific ways in which the characters who inspired us in the books disappoint us in the movies, and makes these general remarks:

By this process of negative moral transformation, in other words, we reach the place where beloved characters are unrecognizable to Tolkien's fans, and those fans feel betrayed. And they are right to feel so, though mostly they do not understand why. It is because the difference between the books and the movies is not just one of necessary adaptation to a different medium. It is that the author consciously followed the Sidneyan tradition while the adaptor is either ignorant of it or doesn't understand it or has rejected it.

Read the whole article here.

Snow and Tears

BOY AT THE WINDOW

Seeing the snowman standing all alone
In dusk and cold is more than he can bear.
The small boy weeps to hear the wind prepare
A night of gnashings and enormous moan.
His tearful sight can hardly reach to where
The pale-faced figure with bitumen eyes
Returns him such a God-forsaken stare
As outcast Adam gave to paradise.

The man of snow is, nonetheless, content,
Having no wish to go inside and die.
Still, he is moved to see the youngster cry.
Though frozen water is his element,
He melts enough to drop from one soft eye
A trickle of the purest rain, a tear
For the child at the bright pane surrounded by
Such warmth, such light, such love, and so much fear.

~ Richard Wilbur