Reaching out in unending lines
Houses of the valleys, all the same
In their uniform of dereliction and decay
Clinging on to the hillside, like old people
Clinging on to the old way of life.
Smoke rises from the chimneys
Catching the last fading sunlight
of the promising summer of plenty,
Falling soon to the sills in black sooty smuts
Where sometimes people sit and stare.
The empty streets echo in the silence
of tack boots on the cobblestones,
Black windows stare at me with accusation
Betrayal screams at you with her evidence
in the houses of the valleys.
By Ann Hughes (1992)
Of the spirit! What
Century, love? I,
Too; you remember -
Brescia? This sunlight reminds
Of the brocade. I dined
Long. And now the music
Of darkness in your eyes
Sounds. But Brescia,
And the spreading foliage
Of smoke! With Yeats' birds
Of the years, is this
Your answer? The long dream
Unwound; we followed
Through time to the tryst
With ourselves. But wheels roll
Between and the shadow
Of the plane falls. The
Nameless on the tall
Steps. Master, I
Do not wish, I do not wish
by R. S. Thomas
from H'm (1972)
The pavane, pavan, paven, pavin, pavian, pavine, or pavyn (It. pavana, padovana; Ger. Paduana) is a slow processional dance common in Europe during the 16th century (Renaissance).
Also the poem might refer to the pavane, a sedate and dignified couple dance, similar to the 15th-century basse danse. The music which accompanied it appears originally to have been fast or moderately fast but, like many other dances, became slower over time.
Brescia is a city and comune in the region of Lombardy in northern Italy. It is situated at the foot of the Alps, a few kilometres from the lakes Garda and Iseo. With a population of more than 200,000, it is the second largest city in the region and the fourth of northwest Italy. The urban area of Brescia extends beyond the administrative city limits and has a population of 672,822, while over 1.5 million people live in its metropolitan area. The city is the administrative capital of the Province of Brescia, one of the largest in Italy, with over 1,200,000 inhabitants.
Dressed like a child
for our ritual Sunday afternoon
pilgrimage to the hillside:
your pear-shaped hood,
scarf wound like a snake
and red ski-boots dragged along
like grown-up things worn for a dare.
When I laugh, I don't mean it to hurt.
It is the brother of the laugh
at the end of our laugh-making -
rigid bones melting into blood.
The moor grass has turned
into a frosty yellow, its green
gone deep into hibernation.
We crunch mud, step streams,
in games which strip us of years
like the trees have been
of their leaves. The water
and your green eyes
share the only motion.
You see a red berry
and call it a ladybird.
I think of your city upbringing;
the seasons being passing strangers
through Belfast streets
where you cadged rides from the ice.
When the brook's chatter is snow-fed,
your laughter is tangled in thorn.
You discover an ice sculpture
mounted on a spine of reed,
and call it 'Teeth and Jaws'.
The light of your words
travels through it.
High above Merthyr, mountain lapping mountain.
You are amazed at the rarified sunlight!
When you speak, the numb streets
are startled. We leave the childhood
of the moorland, to grow taller
with a tiredness which is the sister
of when we lie, translucent and still,
on the single spine of the bed.
by Mike Jenkins
from Empire of Smoke
Additional information: Mike Jenkins (born 1953) is a Welsh poet, story writer and novelist writing in English. He taught English at Radyr Comprehensive School in Cardiff for nearly a decade and Penydre High School, Gurnos, Merthyr Tydfil, for some two decades before that. At the end of the 2008–2009 academic year Jenkins took voluntary redundancy. He now writes full-time, capitalising on experiences gleaned from former pupils. He continues to live in Merthyr Tydfil, and has done so for over 30 years. He is also the father of Plaid Cymru politician Bethan Jenkins and journalist Ciaran Jenkins.
Outside the green velvet sitting room
white roses bloom after rain.
They hold water and sunlight
like cups of fine white china.
Within the boy who sleeps in my care
in the big chair the cold bloom
opens at terrible speed
and the splinter of ice moves
in his blood as he stirs in the chair.
Remembering me he smiles
politely, gritting his teeth
in silence on pain's red blaze.
A stick man in the ashes, his fires
die back. He is spars and springs.
He can talk again, gather
his cat to his bones. She springs
with a small cry in her throat, kneading
with diamond paws his dry
as tinder flesh. The least spark
of pain will burn him like straw.
The sun carelessly shines after rain.
The cat tracks thrushes in sweet
dark soil. And without concern
the rose outlives the child.
by Gillian Clarke
from Letter from a Far Country (1982)
I have seen it standing up grey,
Gaunt, as though no sunlight
Could ever thaw out the music
Of its great bell; terrible
In its own way, for religion
Is like that. There are times
When a black frost is upon
One’s whole being, and the heart
In its bone belfry hangs and is dumb.
But who is to know? Always,
Even in winter in the cold
Of a stone church, on his knees
Someone is praying, whose prayers fall
Steadily through the hard spell
Of weather that is between God
And himself. Perhaps they are warm rain
That brings the sun and afterwards flowers
On the raw graves and throbbing of bells.
by R. S. Thomas
from Pietà (1966)
The fountains mingle with the river
And the rivers with the ocean,
The winds of heaven mix for ever
With a sweet emotion;
Nothing in the world is single;
All things by a law divine
In one another’s being mingle –
Why not I with thine?
See the mountain’s kiss high heaven
And the waves clasp one another;
No sister-flower would be forgiven
If it disdain’d its brother:
And the sunlight clasps the earth,
And the moonbeams kiss the sea –
What are all these kissings worth,
If thou kiss not me?
by Percy Bysshe Shelley (1792 – 1822)
Like a painting it is set before one,
But less brittle, ageless; these colours
Are renewed daily with variations
Of light and distance that no painter
Achieves or suggests. Then there is movement,
Change, as slowly the cloud bruises
Are healed by sunlight, or snow caps
A black mood; but gold at evening
To cheer the heart. All through history
The great brush has not rested,
Nor the paint dried; yet what eye,
Looking coolly, or, as we now,
Through the tears’ lenses, ever saw
This work and it was not finished?
by R. S. Thomas
from Poetry For Supper (1958)
Consider the small fruit tree after the rain:
full of trembling raindrops
the enchanted magnificence of its branches
glitters in the sunlight.
Yet when the sun hides, in a moment
the magic vanishes.
It is again, as it was before,
an ordinary, poor little tree.
by Dobriša Cesarić (1902 – 1980), Croatia
Translated by Jeni Williams and Pavlija Jovic after the Croatian of Dobriša Cesarić.
The cuckoo I asked
How many years I would live… The
Pine tops shivered,
A yellow shaft fell to the grass.
In the fresh forest depths, no sound…
I am going
Home, and the cool wind
Caresses my hot brow.
– by Анна Ахматова (Anna Akhmatova) (1 June, 1919)
– from Подорожник (Plantain/Wayside Grass, 1921) translation by D. M. Thomas
The sunlight on the garden
Hardens and grows cold,
We cannot cage the minute
Within its nets of gold,
When all is told
We cannot beg for pardon.
Our freedom as free lances
Advances towards its end;
The earth compels, upon it
Sonnets and birds descend;
And soon, my friend,
We shall have no time for dances.
The sky was good for flying
Defying the church bells
And every evil iron
Siren and what it tells:
The earth compels,
We are dying, Egypt, dying
And not expecting pardon,
Hardened in heart anew,
But glad to have sat under
Thunder and rain with you,
And grateful too
For sunlight on the garden.
by Louis MacNeice (1907 – 1963)