Ponderings

Tag: poetry

  • The Hollow Men

    On the 26th September, 1888 the Anglo-American poet, essayist and playwright T.S Eliot was born. His work was considered modernist in style despite Eliot’s sincere traditionalist beliefs. He was born in St Louis, Missouri and he was the son of a prominent and wealthy family who had relocated to the area from Boston.

    The Eliots were a highly influential family in Boston and were part of an elite group of families that soon became known as the “Boston Brahmins”. The Boston Brahmins were a very select and distinct group of privileged people who inhabited the upper echelons of society, and kept their ancestral and cultural connections to Britain. In Eliot’s case, his ancestral home was situated in East Coker, Somerset.

    Eliot developed a prodigious talent for poetry and was awarded a scholarship to Merton College, Oxford in 1914. However when the First World War broke out, this changed his fortunes, and his outlook. He left Oxford after a year and moved to London. He took various teaching jobs and continued to write poetry where he eventually attracted the attention of fellow poet and compatriot Ezra Pound. Pound soon became a friend and a mentor.

    In 1915 he married Vivienne Haigh-Wood. However the marriage was destined to fail right from the beginning, Vivienne was nervous and fragile. Her emotional vulnerabilities proved to be too difficult for both of them to cope with and she was committed to an asylum. Eliot felt profound guilt and was on the verge of a mental breakdown himself. His poetry was imbued with this guilt and pessimism, and coloured by the political instability of the world.

    Consequently he used his strident poetic voice to elicit greater truths that transcended the often petty concerns that bedevilled mortal humans. In his mind, modernity was a lie, it simply detached mankind from its natural environment and only diminished men and women to things. Throughout the nineteen twenties he composed dark verse that epitomised the mood of those times. In his poetic journey he took his own spiritual journey towards enlightenment, and he ultimately found succour in the Anglican faith of his forefathers.

    However it was a long and arduous path, strewn with self-doubt and recrimination. In a world that was gradually turning its back on any semblance of peace, harmony or universal understanding, it must have felt like a pointless and thankless task with no conceivable end point. The most striking poem from this period is “The Hollow Men” which was written at the peak of his personal crisis in 1925.

    The poem reveals a world bereft of morality, humanity and meaning. It is a world only populated with dead souls. Three years earlier he published “The Waste Land” a solemn lamentation of a lost landscape devastated by the thoughtless actions of empty, deadened men.

    It is incredibly apposite that these poems were published in the interwar years when a far greater horror was hovering on the horizon. However his experiences of the Second World War inspired the bleak majesty of “Four Quartets”, a series of elegiac poems dedicated to the eternal elements that remain with us even amidst war and death. We must remember his potent poetic voice as the world turns dark once more.

  • Bitter Fruit

    William Blake represents the united voice of England and the English people. This is an immense accomplishment. It is a rare feat to leave such a memorable and meaningful legacy within a nation that throughout its history has struggled to define itself. England, and its people have sustained numerous attacks from cynics who refuse to believe that the English have a unique identity and culture. Bizarrely, these are the same cynics who have become the greatest champions of Blake’s work. It is strange that they share their admiration with traditionalists, their ideological enemies.

    However both camps are in agreement with Blake’s savage critique of the untrammelled industrialisation of England, and the pernicious effects of it. Anyone with emotional attachments to the English landscape feels the same way. Blake had a great insight into these sentiments. He had an acute awareness of the spirit of place, for him England was sacred. It is extremely unusual for any cultural figure to simultaneously appeal to the counterculture and to the Establishment. Very few figures aside from Blake resonate with two very different audiences.

    However Blake transcended these arbitrary political categories. His convictions were solely spiritual ones. He maintained a profound belief, but his belief system also defied conventional religion. He also understood the universal follies of human nature, once describing anger as a tree growing with poisoned fruit. Other human follies are exposed in his writing. Blake was a visionary, a prophet, a poet and expert draughtsman and engraver. All of his imaginative and creative skills were honed from childhood.

    His inspiration was also derived from the long walks that he took throughout London. He observed everyday life and reflected upon the remarkable and often disturbing scenes that he had witnessed. One morning was especially memorable. Walking through Peckham Rye he experienced a dramatic epiphany. He looked up and saw “a tree filled with angels, bright angelic wings bespangling every bough”. Angels are a perennial theme in his art and in his poetry.

    However his stellar reputation is a relatively recent development. Today he is revered as a seer and a genius, but in his lifetime he was condemned as a lunatic and a dissolute. He was castigated as a disruptive and subversive influence and was shunned by polite society. Consequently he struggled to make a living and lived an austere life. When he died, his friend and fellow artist George Richmond kissed him, closed his friend’s eyes and prayed “to keep the vision in”. The vision has waxed and waned over the centuries, but at the time of his death, his passing was left unacknowledged. He was considered just another obscurity. He was buried in an unmarked grave at the Bunhill Field dissenters graveyard in London.

    However it wasn’t until 2018 that the Blake Society redressed this and paid for a new gravestone. Once more, the timing of this exposes a great paradox. It occurred at the peak of the vicious and vituperative “Brexit wars” when an ideological divide threatened to tear the nation apart. Paradox is at the heart of Blake’s sensibilities, he understood that it was vital in the journey towards moral and spiritual enlightenment,

    “Without Contraries”, he explained, “is no progression. Attraction and Repulsion, Reason and Energy, Love and Hate are necessary to Human Existence. Opposition is true friendship”. Unfortunately, such challenging perceptions are too difficult to comprehend in a dying culture.

    The emotional depth rendered in his poetry and art still evades most modern audiences who are more familiar with the shallow and trivial. Blake’s point has been made, a society that is more concerned with material accumulation is essentially a moribund one.

  • Dreams of Wessex

    On the 2nd June, 1840 the English poet and novelist Thomas Hardy was born. Many readers have admired him throughout the ages as one of the best chroniclers of “Deep England”. This is a concept which evokes much more than a sense of a specific place and time, it is the encapsulation of a feeling of innocence and wonder, and a yearning to return to a simpler existence.

    Hardy was born in Dorset. The location of his birth is significant. All of his novels were set in the South West of England, he referred to this corner of England as Wessex. This was the archaic name for a region which encompassed the counties of Dorset, Wiltshire, Somerset, Devon, Hampshire and Berkshire. Hardy was essentially a pastoral writer, illuminating the climate and landscape of the furthest fringes of England.

    He defended this parochial style by declaring,

    “It is better for a writer to know a little bit of the world remarkably well than to know a great part of the world remarkably little”.

    He left Dorset to train as an architect in London, but he felt lost and homesick. Increasingly despondent, he retired to the college chapel to ponder his fate. Then the ghost of William Wordsworth appeared to him, almost like a talisman to guide him on his future path. This was seared in his memory as the unmistakable, yet shadowy figure of the poet appeared, “lingering and wandering on somewhere alone in the fan-traceried Vaulting”. He took this as a sign that his destiny did not actually lie in architecture. He knew that he had to pursue his literary ambitions, just as Wordsworth illustrated the magic and mystery of the Lake District, Hardy endeavoured to bring out the majesty of the West Country.

    Both were part of the Romantic tradition, a form of cultural conservatism rooted in place. They understood that the landscape moulded the people who lived, worked and depended upon it for their sustenance. It was precious and there was an urgent necessity to preserve it, as it was so much more than a random patch of land, it defined their identity, perceptions and outlook on life.

    Hardy declared,

    “There exists a great background, vital and wild, which matters..”

    Similarly, Wordsworth waxed lyrical about the magic of the Northern landscape in his book, “A Guide Through the District of the Lakes”. He imagined a lone walker wandering the lakes and fells. He described how this solitary pilgrim of nature felt overwhelmed by the beauty that surrounded him. As he contemplated the landscape, he experienced a kind of epiphany, as if encountering the sublime.

    In one passage he recalled that as “the winds sweeping over the lakes, or piping with a loud voice among the mountain peaks…(he) may think of the primeval woods shedding and renewing their leaves.” This distinct landscape was haunted by the footsteps of other lone travellers, who also trod the same paths.

    The land resonates with the memory of these wanderers. Wordsworth felt their presence and described the “low breathings coming after him”. The profound sense of the elemental reverberates throughout the work of Wordsworth and Hardy.

    The haunting memories of Egdon Heath were revealed within Hardy’s powerfully affecting novel “Return of the Native”. In his imagination, he thought that the Heath “had a lonely face, suggesting tragical possibilities”. Hardy maintained that all of the land possessed this tragic possibility. Hardy’s childhood on a bleak, windy corner of England left an indelible impression on him.

    Outsiders were oblivious to the reality of such an existence, for them, on the surface at least, country living was benign and bucolic, unaware that horror and drama are buried beneath, and arise at the most inopportune time. When they least expect it, the characters soon succumb to their fate. Hardy lived through a time of dramatic change, the late Victorian era when England was on the cusp of modernity. He was deeply sceptical of the supposed benefits of industrialisation. In his eyes it simply destroyed rural communities and people lost their connection to the land. He maintained that it was natural to remain on the land and to eke out an existence despite the hardships.

  • Hallowed Meadows

    On the 20th May, 1864 the English poet John Clare died. His work was largely neglected in his lifetime. It was only during the twentieth century that his work was re-evaluated and re-incorporated into the canon of English poetry. He was renowned as a nature poet, and was revered for his fierce defence of the English countryside. Clare sought to protect the dignity of the agricultural workers who laboured ceaselessly to save it from the pernicious effects of modernisation and industrialisation.

    Clare maintained that the English landscape was sacred and that every native Englishman had and kept a pact with the land that was sacrosanct. All of this changed with the introduction of the Enclosure Acts, laws which were only enacted to benefit wealthy landowners.

    Clare saw the destruction first hand, he saw the total desecration of the fields in his native Northamptonshire. Trees and hedges were uprooted, fens were drained and pastures were ploughed. His response was both caustic and uncompromising, it was undeniable that this was both an abomination and a profanity. Clare was only fourteen when these laws were implemented. The legislators justified these as methods that would increase yields.

    However, the old way of life rapidly vanished as swathes of precious land were privatised for profit. In his poem “Helpston Green” he opines,

    “But now, alas, your hawthorn bowers

    All desolate we see

    The tyrant’s hand their shade devours

    And cuts down every tree.”

    The fields were no longer the property of hard working, humble smallholders, they became the sole preserve of the rich, indolent elites.

    These shallow, avaricious interlopers had no concept of the divinity in nature, it was simply another resource to exploit, and to further enrich themselves. These new landowners considered their new acquisition as yet another commodity. It was this casual dismissal of centuries of diligence and devotion which shocked him the most. When he learned that his favourite elm trees were to be condemned, he remarked that “I have been several mornings to bid them farewell”. He knew that the dedication of cultivation of these ancient trees was more than work, it was a vocation. In English folklore trees are divine and almost akin to holy totems.

    Clare was fragile, and vulnerable. He suffered greatly with his mental health and spent most of his life in asylums. This mental fragility threatened to overshadow his legacy as a poet. However it must still be acknowledged that in spite of his emotional difficulties, his tremendous insight and lucidity shines through his poetry.

  • Ghosts Again

    April 24th is St. Mark’s Eve, a solemn date of fasting and prayer dedicated to the dying. Tradition in England dictated that those observing the feast must keep vigil in the churchyard between 11PM and 1AM. It was believed that anyone who passed through the church porch during that time was destined to die within that year.

    The symbol most commonly associated with St. Mark is a winged lion, an indefatigable and heroic figure. It is an icon reproduced in medieval heraldry. Mark’s influence was especially pronounced in Italy and was particularly revered by communicants of the English Church. The legend still reverberates throughout our culture, albeit in a watered down version in comparison to the devotions of previous centuries.

    Mark was born in the spiritual wastelands of North Africa, yet through his tireless evangelism he established the foundations of Christianity in the desert, and ultimately across the whole of the African continent. The English poet John Keats was inspired by this prophetic story of building substance from sand, and could see parallels between this and the spiritual void of England.

    Keats spoke of “the vale of soul making”, and alluded to the perpetual struggle of the English people to find a cohesive religious and cultural identity. He also made the declaration that “I am certain of nothing but the Holiness of the Heart’s affections and the truth of the Imagination”. Keats was a visionary poet and part of a long tradition of seers and poets.

    This originated with the omens and prophecies of the Druidic priests and was established on this island before continental invasion and colonisation. It has endured and remains a part of us, and our sensibility as a people. The foundation myth of our island was itself based upon a vision.

    The legend states that the goddess Diana appeared before Brutus and declared, “beyond the realm of Gaul, a land there lies, sea-girt it lies, where giants dwelt of old. Now void it fits thy people…And kings be born of thee, whose dreaded might shall awe the world and conquer nations bold”. This is our inheritance and it has left an indelible impression on generations of English writers.

    Keats’ poem, “The Eve of Saint Mark” focusses upon a vigil attended by a young woman called Bertha. The tone is both dream-like and melancholic. Bertha is sitting in the shadows of the graveyard, reading, praying and contemplating the significance of the occasion.

    Keats illustrates this tremendously evocative scene, replete with visions of ghostly silhouettes,

    “All was silent, all was gloom

    Abroad and in the homely room:

    Down she sat, poor cheated soul!

    And struck a lamp from the dismal coal”.

    In her fatigue she reaches some level of epiphany, as the poem concludes,

    “At length her constant eyelids come

    Upon the fervent martyrdom;

    Then lastly to his holy shrine

    Exalt amid the tapers’ shine

    At Venice”.

    Keats’ observations captured a different England, now lost to modernity.

    It was a nation that was still steeped in piety, although that was beginning to wane in his lifetime. At that stage in our history, people still believed in the literal presence of ghosts. It is obvious that during a period of great privation and high mortality, certain beliefs or perhaps superstitions would be prevalent. Many churches in this country are dedicated to St. Mark and continue to attract large congregations. However the Church of England discourages these ancient practices and instead advises parishioners to light candles and pray for those facing death.

    It is sad that there are negative connotations, it reflects our disconnection between ourselves and our ancestors and the modern taboo about death. It is the only inevitability in our lives, and we should not be ashamed. Keats faced his own demise with an admirable level of maturity and acceptance. We should acknowledge our own mortality in the same manner.

  • Lyric Grace

    On the 31st March, 1621 the English poet and politician Andrew Marvell was born. He lived and worked through one of the most tumultuous periods of English history, and this is reflected in his work. His first poems were published while he was still a student at Cambridge, and these were effusive tributes to the reigning King Charles I.

    However after the King was executed in 1649 his loyalties changed. Eventually he was persuaded to support the new political establishment and he firmly allied himself with the new regime. In 1650 he worked for Lord Fairfax, who was Oliver Cromwell’s military commander during the Civil Wars. He was employed as the private tutor to his daughter at his residency, Appleton House.

    The verdant surroundings inspired him to write the poem “Upon Appleton House”. This was an extraordinarily vivid poem, praising his patron and his generosity. The poem is also an allegory of England during the Interregnum, a society in great flux and wrestling with its religious and cultural identity.

    One year later he was appointed to Cromwell’s Council of State and worked as his Latin Secretary alongside his friend and fellow poet John Milton. They shared a similar sensibility, perceiving England as a uniquely sacred nation, akin to Zionism.

    This belief was sincere and profound. The argument was that just as God promised the land of Israel to the Jews, England too was a kind of Promised Land for pious and devout Protestants. This was a very common belief for the time. Milton’s epic verse was a lamentation for a lost tribe of chosen people, bewildered and exiled on England’s vast green plains searching for manna.

    This concept was often held in tandem with the practice of complete abstinence from worldly desires to maintain spiritual purity and to restore the covenant with God. Both of these beliefs were integral to the Puritan philosophy which helped to sustain Oliver Cromwell’s governance. Ultimately, however Puritanism had its limits, and its harsh strictures were questioned by the populace.

    Cromwell’s tyrannical measures against excesses of the flesh did not seem particularly Christian at all. It seemed that Puritan leaders were held captive by a delusion, believing that God had only created a spirit world, rather than a material world replete with flesh and blood humans.

    Cromwell died in 1658 and his son Richard succeeded him. It was a hallmark of the regime’s hypocrisy that one hereditary system was merely replaced with another. In 1659 Marvell was elected the Member of Parliament for Kingston-upon-Hull in the Third Protectorate Parliament. In 1660 the Monarchy was restored, and King Charles II ascended to the throne. Both Marvell and Milton were incredibly fortunate to avoid the death penalty for being possible co-conspirators and collaborators in the previous administration, one that was held responsible for the execution of the King’s father.

    It was a testament to their persuasive literary powers that they could even convince Royalty that they were not traitors. Marvell was re-elected as the MP for Hull in the Cavalier Parliament. However he was soon dissatisfied, and appalled by the extent of government corruption which had become endemic. He composed poems expressing his feelings of disgust and disappointment, but these were written surreptitiously and were only published posthumously.

    Marvell died in mysterious circumstances in 1678, reputedly this was a targeted political assassination. In the wake of the Glorious Revolution of 1688, his poetry experienced a revival, with previously unpublished poems added to the canon. His poetry felt timely and it resonated with people.

    Poems like “The Garden” and “To HIs Coy Mistress” were subtle allusions to England’s divided self, a nation and a people grappling with ambiguity. It was a perennial battle between the body and the soul, the flesh and the spirit. His oeuvre was a significant influence on T.S Eliot, who was also inspired by similar themes.

    Eliot wrote that his poetry “is more than a technical accomplishment, or the vocabulary and syntax of an epoch; it is what we have designated tentatively as wit, a tough reasonableness beneath the slight lyric grace”. This “slight lyric grace” epitomises English culture, quiet, unassuming and too hesitant to express any heartfelt emotion. His work is a delicate dedication to England, and it continues to reverberate to this day.

  • The Inheritor Of Unfulfilled Renown

    On the 20th of November, 1752 the English poet Thomas Chatterton was born. He was born in Bristol to a family who played an important and prestigious role in the office of sexton for St Mary Radcliffe Church. His mother, Sarah Chatterton was a part-time seamstress. His father, also called Thomas, was a numismatist who died shortly after he was born.

    He was educated at Edward Colston’s charity school, reputedly on the site of a ruined Carmelite convent. His childhood was steeped in mystery and myth, but also difficulty and poverty. This inauspicious start in life did not bode well for his future. In spite of his efforts to establish himself as a professional poet he died at the tragically young age of 17. His death occurred in murky circumstances. Many assumed that he had taken his own life.

    However other commentators have suggested that his demise may have been accidental, as his death was attributed to arsenic poisoning. Arsenic was a common treatment for venereal disease at that time. Nonetheless his death still created a myth that lingers to this day, of the tortured, doomed and misunderstood poet destined for obscurity.

    His death and the legend that surrounded it influenced other writers and artists for at least a century afterwards, and beyond. In 1835 the French playwright Alfred de Vigny wrote the visionary drama “Chatterton”. The troubled Victorian poet and Catholic mystic Francis Thompson believed that he was saved from suicide by the comforting presence of Chatterton’s ghost.

    The myth was also immortalised in the popular imagination by the pre-Raphaelite artist Henry Wallis in his 1856 painting “The Death of Chatterton”. In 2010 the outsider artist George Harding was inspired to create his own interpretation of this iconic image in the painting “Everything is Real except God and Death”, inspired by his experience as an in-patient at Bethlem hospital.

    Harding re-imagined the mythic figure of Chatterton, and re-created the infamous death scene with himself at the centre. However in the painting, Harding is not dead, but in a state of madness and confusion. In the grip of his delusion, he has no head, in its place is the Eye of Providence. The painting illustrates that disturbing and unsettling no-man’s land that exists between reality and insanity in which death itself has no meaning.

    Chatterton’s extraordinary life and death provides a dark inspiration for those who have found themselves adrift in society. Chatterton was an imaginative and sensitive child. When he was six he amused himself with solitary pursuits, and spent entire days reading and writing. At school he was prone to daydreaming, and neglected his academic work. He started writing poetry at the age of eleven, and this was encouraged by his mother.

    He was fascinated by history, particularly folklore and many of his earliest writings illuminate the old myths and tales of England. The ancient legends and landscapes of England, especially Bristol animated his verse. This was something that he cultivated while still a schoolboy at Colston’s school. It was staggering to consider that he was only sixteen, and unlike many youths of today who are only too keen to forge ahead and create new ideas for the future, he was more inclined to look back into the past.

    Chatterton adored the rarefied world of Medieval England. This was a period replete with ornate mythology and lore. It was a realm so captivating that he would frequently lose himself within it. He even adopted the persona of a Medieval poet, and attempted to appropriate the syntax and style. He created the pseudonym “Thomas Rowley”. The “Rowley” poems are an astounding testament to his literary and linguistic talents, honed at such a young age.

    Chatterton believed that the character that he imagined, of a Medieval scholar, scribe and Priest, was so convincing, that he could fool the literary establishment. He appealed to the great and good of Bristol. He told them that he had discovered a neglected masterpiece written by an unknown and unrenowned poet from the fifteenth century. However they were unwilling to remunerate him.

    Unchastened by this rejection, he sent his appeal further, to the esteemed Horace Walpole, who initially believed his account until he was informed of Chatterton’s age. He was sceptical of the veracity of the poems, and consulted his friend Thomas Gray. Gray instantly declared that the poems were fake. Walpole wrote a denouncing letter to Chatterton in which he called his poems “facile”, and the correspondence ended.

    The rejection wounded him, and it sent Chatterton on a path to self-destruction, and led to his untimely demise. It seems tragic now to consider that he died not knowing that his work of medieval parody and pastiche would become a major influence on the Romantic poets, and inspire further generations of English poets.

  • In Xanadu

    On the 21st October, 1772 the English poet, literary critic, philosopher and theologian Samuel Taylor Coleridge was born. Coleridge was a prominent member of a rarefied group of writers and artists known collectively as the Romantics. This was an intellectual movement dedicated to the cultivation of the human imagination, regarded as the ultimate source of enlightenment and the key to the development and progression of civilisation.

    In our modern understanding of the term, Romantics are idealistic dreamers with an excessively optimistic perception of human nature and its destiny. Romantics were the heirs of utopians, who themselves had too much faith in humankind, at least in terms of solving the almost intractable problems of existence. However we are living in a time of cynicism and scepticism, and these concepts do not have much significance or resonance, but in the past these ideas were considered radical.

    Writers associated with utopianism include the moral philosopher William Godwin.

    In 1793 Godwin published “An Enquiry Into Political Justice”. This essay fired the imagination of a young William Wordsworth. He implored others, in a spirit of reckless extravagance to “throw aside your books of chemistry” and urged his contemporaries to focus on Godwin’s theories instead. Coleridge himself was encouraged by his message and composed a “hymn” honouring him, announcing in emphatic tones.

    “For that thy voice, in Passion’s stormy day,

    When wild I roam’d the bleak heath of Distress,

    Bade the bright form of Justice meet my way-

    And told me that her name was HAPPINESS.”

    At this time, Coleridge was young and fiery and determined to rid the world of all of its iniquities.

    He was a bold and ambitious young man with tremendous zeal. However he was also afflicted with a sensitivity that was frequently misunderstood and maligned by mainstream society and its institutions. He was invalided out of the Army, and in spite of early academic promise, failed to graduate from Cambridge University. He published his first volume of poetry in 1796, which also featured poems from Charles Lamb and Robert Southey.

    One year later he moved to a cottage in Nether Stowey, Somerset. He resided there for a year and created his best work, including “Kubla Khan”. This visionary, extraordinary poem was composed after an opium induced dream. The poem describes Xanadu, the summer capital of Mongol China. It details Emperor Kublai Khan’s pleasure dome, situated next to a holy river. The poem is a testament to the sacred and hallowed elements of the natural world.

    Voyages into far flung lands are enduring themes in English literature. These are mythic tales which are not meant to be literally true. These are works designed to represent a national sensibility. These reflect a common experience living on a cold, dark island cut off from the rest of the world. The yearning for escape to more exotic climes speaks to an insular people who have a deep longing for a land of promise, a paradise, or even a garden of Eden.

    Coleridge and his fellow Romantics were deeply committed to the artistic recreation of Godwin’s utopia. Utopia is more of a symbol than an actual destination, it represents the centre of goodness and harmony. The political philosophy of utopia has dwindled, but the art it inspired has left a lasting and profound legacy.

  • In Praise of Cats

    The English poet, Christopher Smart was born on the 11th April, 1722. He is chiefly remembered for his startling and innovative religious poetry. However he was misunderstood in his lifetime. He was part of the tradition of fragile genius, epitomised by other original and solitary poets like John Clare. Clare was declared mad and confined to an asylum, an unhappy experience which nonetheless allowed him free rein to develop his poetic sensibility.

    It is a fine line to tread, as the division between truly original thought and madness is tenuous. Conventional society is suspicious of free thinkers, and those who are blessed with the gift of imagination often find the business of ordinary living stifling. It is hard to feel confined by the everyday restrictions of life, and authority figures always attempt to undermine anyone who dares to be creative. It is therefore inevitable that artistic and creative people are prone to mental illness as they are overwhelmed by prejudices and philistinism.

    In 1757, Smart was committed to St Luke’s Hospital for Lunatics. He was isolated in this bleak, forbidding asylum with only his beloved cat Jeoffry for company. While interned at St Luke’s he composed a moving paean to Jeoffry. In “My Cat Jeoffry”, Smart pays tribute to a creature who, in his mind, embodies godly virtues. According to the poet, every action, no matter how banal, is Jeoffry’s way of communing with God.

    However the poem is much more than an outpouring of love for a cherished pet, it is actually an important lesson in humility. This is something that humanity rarely takes heed, as it is a species in which the ego is paramount. As Smart acknowledges,

    “For he is good to think on, if a man would express himself neatly.”

    The poem is reminiscent of St Francis’ profound eulogies to animals. The animals are holy and noble, and part of the wonder and beauty of God’s creation.

    Smart’s verse resonates with anyone who has ever had the privilege of owning a cat. It is not far-fetched to state that they are imbued with a distinct quality of magic wisdom. Jeoffry was just one remarkable cat among a magnificent species.

  • A Ghostly Language

    On the 7th April, 1770 the English poet William Wordsworth was born. It was fortuitous that he was born amidst the magic surroundings of the Lake District. This is a unique and astounding area of natural beauty, a phenomenon shaped by ancient geological history. The story of its creation is a thing of wonder.

    Glaciers created a distinct landscape of scooped-out valleys, accompanied by a rough scree of angular stones which combined to form breccia. Skiddaw Slates were deposited first, then volcanic rocks emerged to produce the mountainous region of Langdale Pikes and Helvellyn. During the later Ice Age, an ice cap spread through the valleys which widened and deepened them. Once the ice retreated, piles of glacial debris known as moraines blocked the mouths of the valleys and produced the lakes.

    Wordsworth could not help feeling enthralled by the nature that surrounded him, he spoke about “the ghostly language of the ancient earth”. He was a romantic poet, but he was also a product of the Enlightenment, an era of scientific and philosophical innovation which replaced theological dogma. Writers and thinkers cultivated a new respect for the natural world, and even developed an entirely new form of religious devotion to the Earth.

    However this was just a revival of the old religion, the only exception was that they had discovered the language to illustrate it. Intellectuals were living under the misapprehension that they were living in an age of reason and had divested with superstition. Their illusions were shattered in the age of post-revolutionary terror that was inflicted upon continental Europe. This island was always immune to the contagion of radicalism, even the aberration of Cromwell was swiftly corrected. The ancient institutions of monarchy and church merely evolved with the changing times.

    Wordsworth alluded to the preservation and conservation of our ancient landscape in his “Guide Through The District of the Lakes”. He imagined the solitary walker looking across the lakes and opined, “he may see or hear in fancy the winds sweeping over the lakes, or piping with a loud voice among the mountain peaks and lastly, may think of the primeval woods shedding and renewing their leaves with no human eye to notice, or human heart to regret or welcome the change”. Such plaintive words speak to a distinctly English soul.

    It is an integral part of the English sensibility to find solace in nature, as J.B Priestley notes in his 1934 work “English Journey”, “give the English a foot or two of earth, and they will grow flowers in it; they do not willingly let go of the country-as the foreign people do-once they have settled in a town; they are all gardeners, perhaps country gentlemen at heart”. Our ancestors understood the sacred nature of the landscape, and we have always felt an atavistic longing to return to our roots. Wordsworth will always be the poet of the Lakes, and we must continue to remember him.