Wilfrid Owen's 'The Parable of the Old man and the Young'

Men of the Royal Irish Rifles in the opening hours of the battle of the Somme 1916

Wilfrid Owen (1893-1918)

The last of a short run of poems in which poets use familiar names and stories in their poems.

In the Book of Genesis ,Abraham is tempted by God, who tells him to sacrifice his only son. Obediently Abraham takes Isaac, and is prepared to kill him, but God interrupts and offers him an animal to sacrifice instead.
One wonders about the conversation between father and son on the way home.
Owen’s poem revises the well-known story. The old man refuses to sacrifice the Ram of Pride God offers him, and goes on with the slaughter. As statement the poem’s effective, as a poem it’s heavy handed.
The archaic diction and syntax evokes the memory of the prose of the King James Bible; but the ‘belts and straps’ and ‘parapets and trenches’ seem an unnecessary attempt to force the link between Biblical sacrifice and the trenches and parapets of the first world war, manned by young men wearing belts and straps. I’ve always felt that he didn’t trust his readers to make that link

At the risk of being heretical, Leonard Cohen’s lyric to the song ‘The story of Isaac’ makes the same point more powerfully, and more effectively.

John Dressel's 'Lets Hear It For Goliath'

John Dressel (b1934)

I worry about my pronunciation of people’s names, so if I have mispronounced John Dressel’s I apologise. 

Like Hamlet (see previous episode) Goliath has escaped his story.

Recently a news headline read; ‘Firm wins in David and Goliath legal battle’.

The writer of the headline was confident that the reader would know that this meant a battle between a small firm and a much bigger one. The writer was also positioning the reader to see the smaller as heroic and admirable, and the bigger as the bad guy in the case.

The story of David and Goliath has entered into popular discourse, and people who have never read the Bible know enough to make sense of that headline.

But there’s no reason why we should automatically sympathise with David, or with every small entity taking on a larger one. Dressel’s poem makes this point, playfully.

This poem is taken from ‘Twentieth Century Anglo-Welsh Poetry’ edited by Dannie Abse and printed by Seren/Poetry Wales Press 1997, reprinted 1998.   

Gwyn Thomas’ 'You've Lived'.

Gwyn Thomas (1936-2016)

This is the first of a run of poems in which poets use other works of literature or characters from literature to make a point or to consider an idea. Hamlet is one of the most famous characters in the western tradition, so much so that he has escaped his play and lives a life of his own. People who have never seen a version of the play or read it have heard of him. ‘To be or not to be’ entered everyday speech so long ago it may be used without any knowledge of what the rest of the speech contains.

It’s a young man struggling to verbalise a reason for either living or dying.
Anyone can be driven to ask ‘what is the point’ or ‘what is the meaning of life’. You don’t need to be haunted by what may be the revengeful ghost of your father, or suspect your mother of adultery with your regicidal, fratricidal uncle. Once the religious and philosophical answers have been rejected, the purpose of life becomes finding a a purpose that will make life seem desirable. As Thomas says in this poem, it doesn’t have to be a desire to win an olympic medal or climb mount Everest. Growing onions will do it. Only when you have a reason to live, that matters to you, will you fear death, and only having feared death will you have lived.

I found this poem quoted at the end of Tony Conran’s introduction to ‘Welsh Verse; Translations by Tony Conran.’ Poetry Wales Press 1986. I knew of Gwyn Thomas as a translator of The Mabinogion and his reputation as a poet. I know very little about this poem except I assume it’s translated by Tony Conran from Welsh. If anyone knows differently please let me know.

W.B.Yeats' 'Politics'

W.B. Yeats (1865-1939)

I have been rereading Yeats. Something I recommend everyone with an interest in English poetry should do. It’s difficult to think of a collected poems which has so many great poems in it, or where the quality improves chronologically.

This poem sits at the end of his ‘Last Poems’. It’s not a great poem by his standards, but the honesty of it is appealing. Old men are just young men in failing bodies and Yeats was acutely aware of this. The last two lines express an impossible wish but also acknowledge and accept what has passed.
If you wanted to, you could ask yourself which is the more human response: the men obsessed with politics, or the man admiring the girl. You could also ask yourself which one of the two is less likely to start a war.

Roy Fisher's Birmingham Screwdriver.

Roy Fisher (1930-2017)

Roy Fisher is one of those poets who are highly regarded by critics and readers who know his work, and yet nowhere near as well known as he should be.

This poem is an extract from Talking to Cameras, the first part of the sequence ‘Texts for a Film’. I laughed the first time I read it. As he explains, a Birmingham screwdriver is a hammer, I grew up in Coventry, about 20 miles from Birmingham, and I often heard the phrase. It’s one of those faintly humorous regional insults that abound in the UK, suggesting something about the craftsmanship and craftsmen from Birmingham.
But Fisher takes what is an insult and turns it into a mediation on a way of thinking. It’s the shift, and the humour, that distinguishes this poem.

The poem is taken from ‘The Long and Short of it, poems 1955-2010 (new edition 2012) Bloodaxwe books.