A Poof in a Porker

The great literary scholar and expert psychoanalyst Dr Miriam B. Stimbers has detected castration, clitoridolatry and communal cannibalism in the novels of Jane Austen. I’m not so ambitious. I merely want to detect a poof in a porker’s poetry. Or rather, I want to detect a poof in the poetry of a peer closely associated with a porker.

The porker is Bill Bunter, the fat, lazy and greedy public schoolboy whose misadventures at Greyfriars School were chronicled, under the pseudonym Frank Richards, by the highly prolific Charles Hamilton (1876-1961). One of Bunter’s schoolfellows was the languid and apparently effete peer Lord Mauleverer, who contributed this poem to The Greyfriars Holiday Annual for 1928:

“The Song of the Slacker”, by Lord Mauleverer

Tell me not, in mournful numbers,
Life was meant for toil and hustle;
It was meant for soothing slumbers,
Which relax both mind and muscle.

Life is lovely! Life is topping!
When you lie beneath the shade,
With the ginger-beer corks popping,
And a glorious spread arrayed.

Not enjoyment, and not sorrow,
Is our destined end or way;
But to put off till to-morrow
Work that should be done today!

In the world’s broad field of battle
All wise soldiers take their ease;
And they lie asleep, like cattle,
Underneath the shady trees.

Trust no Future, trust no Present,
Let the dead Past bury its dead!
The only prospect nice and pleasant
Is that of “forty winks” in bed!

“Life is short!” the bards are bawling,
Let’s enjoy it while we may;
On our study sofas sprawling,
Sleeping sixteen hours a day!

Lives of slackers all remind us
We should also rest our limbs;
And, departing, leave behind us,
“Helpful Hints for Tired Tims!”

Helpful hints, at which another
Will, perhaps, just take a peep;
Some exhausted, born-tired brother––
They will send him off to sleep!

While the hustlers are pursuing
Outdoor sports, on land and lake;
Let us, then, be up and doing––
There are several beds to make. – The Greyfriars Holiday Annual for 1928 (1927), Howard Baker abridged edition 1971


I liked the poem when I first read it, but I didn’t spot the parody as soon as I should. It was unexpected, you see, but then it dawned on me that “The Song of the Slacker” must be a parody of a famous poem by the poof-poet A.E. Housman (1859-1936):

REVEILLE

Wake: the silver dusk returning
Up the beach of darkness brims,
And the ship of sunrise burning
Strands upon the eastern rims.

Wake: the vaulted shadow shatters,
Trampled to the floor it spanned,
And the tent of night in tatters
Straws the sky-pavilioned land.

Up, lad, up, ’tis late for lying;
Hear the drums of morning play;
Hark, the empty highways crying
“Who’ll beyond the hills away?”

Towns and countries woo together,
Forelands beacon, belfries call;
Never lad that trod on leather
Lived to feast his heart with all.

Up, lad: thews that lie and cumber
Sunlit pallets never thrive;
Morns abed and daylight slumber
Were not meant for man alive.

Clay lies still, but blood’s a rover;
Breath’s a ware that will not keep.
Up, lad: when the journey’s over
There’ll be time enough to sleep. – A Shropshire Lad (1896), Poem IV


The meter of the two poems is the same, the period is right, and the sentiments of Housman’s call to energy and effort are turned neatly on their heads in Lord Mauleverer’s call to sleep and slackness. And it’s a clever parody, although it’s a little too long. I’m glad to have come across “The Song of the Slacker”, which the second-best parody of Housman I’ve read. Here’s the best:

What, still alive at twenty-two,
A clean, upstanding chap like you?
Sure, if your throat ’tis hard to slit,
Slit your girl’s, and swing for it.

Like enough, you won’t be glad,
When they come to hang you, lad:
But bacon’s not the only thing
That’s cured by hanging from a string.

So, when the spilt ink of the night
Spreads o’er the blotting-pad of light,
Lads whose job is still to do
Shall whet their knives, and think of you.

Hugh Kingsmill’s famous parody of A.E. Housman

ზამვარდები

ვარდები

მე, ზამთრისაგან ჯაჭვაწყვეტილი,
ნაცნობ ბაღისკენ მივემართები,
სად ფერად უცხო, ყნოსვად კეთილი,
ზამთარ და ზაფხულ ჰყვავის ვარდები.


Roses

Unchained from winter,
I walk to a long-known garden,
Where, sweet-scented and bright,
Roses grow winter and summer through.

ვარდები, გალაკტიონ ტაბიძე
“Roses”, Galaktion Tabidze — a translation into English

Wails from the Crypt

From the depths of the crypt at St Giles
Came a scream that resounded for miles…
     Said the vicar: “Good gracious!
     Has Father Ignatius
Forgotten the Bishop has piles?”

(Anonymous)


Elsewhere other-accessible…

Doc Proc — a review of Dr Miriam B. Stimbers’ Botty: An Unnatural History of the Backside (2014)

HMortuis

“The Garden of Prosperpine”

By Algernon Charles Swinburne


Here, where the world is quiet;
         Here, where all trouble seems
Dead winds’ and spent waves’ riot
         In doubtful dreams of dreams;
I watch the green field growing
For reaping folk and sowing,
For harvest-time and mowing,
         A sleepy world of streams.

I am tired of tears and laughter,
         And men that laugh and weep;
Of what may come hereafter
         For men that sow to reap:
I am weary of days and hours,
Blown buds of barren flowers,
Desires and dreams and powers
         And everything but sleep.

Here life has death for neighbour,
         And far from eye or ear
Wan waves and wet winds labour,
         Weak ships and spirits steer;
They drive adrift, and whither
They wot not who make thither;
But no such winds blow hither,
         And no such things grow here.

No growth of moor or coppice,
         No heather-flower or vine,
But bloomless buds of poppies,
         Green grapes of Proserpine,
Pale beds of blowing rushes
Where no leaf blooms or blushes
Save this whereout she crushes
         For dead men deadly wine.

Pale, without name or number,
         In fruitless fields of corn,
They bow themselves and slumber
         All night till light is born;
And like a soul belated,
In hell and heaven unmated,
By cloud and mist abated
         Comes out of darkness morn.

Though one were strong as seven,
         He too with death shall dwell,
Nor wake with wings in heaven,
         Nor weep for pains in hell;
Though one were fair as roses,
His beauty clouds and closes;
And well though love reposes,
         In the end it is not well.

Pale, beyond porch and portal,
         Crowned with calm leaves, she stands
Who gathers all things mortal
         With cold immortal hands;
Her languid lips are sweeter
Than love’s who fears to greet her
To men that mix and meet her
         From many times and lands.

She waits for each and other,
         She waits for all men born;
Forgets the earth her mother,
            The life of fruits and corn;
And spring and seed and swallow
Take wing for her and follow
Where summer song rings hollow
         And flowers are put to scorn.

There go the loves that wither,
         The old loves with wearier wings;
And all dead years draw thither,
         And all disastrous things;
Dead dreams of days forsaken,
Blind buds that snows have shaken,
Wild leaves that winds have taken,
         Red strays of ruined springs.

We are not sure of sorrow,
         And joy was never sure;
To-day will die to-morrow;
         Time stoops to no man’s lure;
And love, grown faint and fretful,
With lips but half regretful
Sighs, and with eyes forgetful
         Weeps that no loves endure.

From too much love of living,
         From hope and fear set free,
We thank with brief thanksgiving
         Whatever gods may be
That no life lives for ever;
That dead men rise up never;
That even the weariest river
         Winds somewhere safe to sea.

Then star nor sun shall waken,
         Nor any change of light:
Nor sound of waters shaken,
         Nor any sound or sight:
Nor wintry leaves nor vernal,
Nor days nor things diurnal;
Only the sleep eternal
         In an eternal night.

Bash the Trash

From George Orwell’s “As I Please” for 11th February 1944, Tribune:

THE FOLLOWING lines are quoted in Anthony Trollope’s Autobiography:

When Payne-Knight’s Taste was issued on the town
A few Greek verses in the text set down
Were torn to pieces, mangled into hash,
Hurled to the flames as execrable trash;
In short, were butchered rather than dissected
And several false quantities detected;
Till, when the smoke had risen from the cinders
It was discovered that — the lines were Pindar’s!

Trollope does not make clear who is the author of these lines, and I should be very glad if any reader could let me know. But I also quote them for their own sake — that is, for the terrible warning to literary critics that they contain — and for the sake of drawing attention to Trollope’s Autobiography, which is a most fascinating book, although or because it is largely concerned with money.


Elsewhere Other-Accessible…

Pindar (c. 518-438 BC) at Wikipedia
An Analytical Inquiry Into the Principles of Taste (1806) by Richard Payne-Knight at Archive.org
An Autobiography and Other Writings (1869) by Anthony Trollope at Gutenberg

For Flake’s Sake

It caught my eye, it caught my eye,
That fluttering flake of fallen sky.

It rode the wind as cars bored by
And did not die:

And shall not die,
That fluttering flake of fallen sky.


Post-Performative Post-Scriptum

A poem written months ago about a briefly glimpsed blue butterfly flying along — and over — a busy road. I don’t know the species, but Polyommatus icarus seems a reasonable guess.

Pteric Ptosis

Uncle, whose inventive brains
Kept evolving aeroplanes,
Fell from an enormous height
Upon my garden lawn last night.
Flying is a fatal sport:
Uncle wrecked the tennis court. — Harry Graham (1874-1936)


Peri-Performative Post-Scriptum

Pteric means “of or like a wing”; ptosis meant “fall, falling” in ancient Greek and is now used in medicine to mean “drooping of the eyelid; sagging or lowering of an organ”, etc.

Verbol

Green on green on green
The light befalls me clean,
Beneath the birds.

And how I can capture
This mute green rapture
In blinded words? (7viii21)


Post-Performative Post-Scriptum

This poem is an attempt to describe the impossibility of describing the green light I saw falling through the leaf-layers of a chestnut-tree a few days ago. I wanted a title that compressed the most important images in the poem — trees and greenness — and I remembered a clever portmanteau I’d seen in a Spanish translation of Lord of the Rings. In the translation, the Ent Treebeard, a walking-and-talking tree, was called Bárbol, which is a blend of the Spanish words barba, “beard”, and árbol, “tree”. I’ve tried to blend Spanish verde, “green”, and arbol. The resulting portmanteau contained more than I planned: it’s also got ver, Spanish for “to see”, and vēr, Latin for “spring, youth”. And it’s almost “verbal”, but with the “a” replaced by an “o”, representing the sun and its indescribable light. And come to think of it, there’s an important chestnut-tree in Lord of the Rings:

A little way beyond the battle-field they made their camp under a spreading tree: it looked like a chestnut, and yet it still bore many broad brown leaves of a former year, like dry hands with long splayed fingers; they rattled mournfully in the night-breeze. — The Two Towers, ch. 11

That’s when Aragorn, Legolas and Gimli are camping on the edge of Fangorn, the ancient forest where Treebeard dwells. The broadness of chestnut-leaves is why the light that falls through them is greened and cleaned in a special way.