'This can hardly be too vehemently recommended'

 Back in the days when the late Sage of Tiverton and I were exchanging frequent text messages, he somehow convinced himself that my nightly routine was to retire to bed and read Marguerite Yourcenar's Memoirs of Hadrian. I've no idea where he got this notion, as I had never read the much praised Memoirs, but it was a book I had long intended to get round to reading one day. This state of affairs continued until very recently when, spotting it on the shelves of my favourite charity bookshop, I nerved myself to buy it and – yes, at last – read it. I am not sorry: I'd say it is perhaps the best thing of its kind I have read. 
   Published in 1951, after a very long gestation, it is, as the title suggests, an account of his life written in the first person by the Emperor Hadrian (who is remembered today chiefly for his wall, his love of Antinous, and his poetical farewell to his soul, 'Animula vagula blandula...'). His death drawing near, Hadrian sets out his memoir in the form of a long letter to his grandson Marcus Aurelius (of the ever popular Meditations), who will in due course succeed him. Yourcenar's endeavour was inspired by a sentence she came across in Flaubert's correspondence: 'Just when the gods had ceased to be, and the Christ had not yet come, there was a unique moment in history, between Cicero and Marcus Aurelius, when man stood alone.' It's a questionable statement (Christ had been around a good while by the time of Marcus Aurelius, and the old gods had gone nowhere), but the idea is strong, even intoxicating, and it spurred the young Yourcenar to write the first of many versions of her Hadrian. These she mostly destroyed, retaining just one eloquent sentence: 'I begin to discern the profile of my death'. With this sentence, she wrote later, 'I had at last found a point from which to view the book'. 
   The dying Hadrian is an entirely convincing figure, and the world he inhabits, both outer and inner, has the ring of authenticity. Yourcenar devoted years to research, but her approach is not that of the encyclopaedically inclined Flaubert, who liked to throw in everything including the kitchen sink – has anyone ever read Salammbo a second time for pleasure? She had created the whole of Hadrian's world in her head, and all she had to do was place him in it (in this she resembled Penelope Fitzgerald in her later novels). Because the book is, of course, written in the first person, no explanation, no wider view, is needed. You are in Hadrian's world, his empire, his philosophy, his career, his struggles and triumphs, loves and losses, enemies and lovers, memories and (few) regrets, as he surveys his past, assesses his present and prepares, with Stoic calm, to leave the world. Written in an elegant and balanced (indeed classical) prose, Memoirs of Hadrian is an astonishing feat of historical imagination on Yourcenar's part. When it came out, it received rave reviews, one of which – by Raymond Mortimer in the Sunday Times – is quoted on the back of my (Penguin) edition: 'As a picture of the whole various Empire with its manners and beliefs, no less than as an imaginary portrait of its ruler, this can hardly be too vehemently recommended.' They don't write them like that any more, but he's right, and I am so glad I finally got round to it.

Poet to Poet

 It's World Poetry Day today (though it should be World Music Day, as it's Bach's birthday).
To mark the occasion I've assembled a little collection of poems in which one poet addresses or encounters or hails another – thereby doubling the poetical headcount. Or even tripling it, as here, where Keats encounters Homer by way of Chapman's wonderfully vigorous translation, and is moved to write one of the finest sonnets in the language –

On First Looking into Chapman's Homer

Much have I travell'd in the realms of gold,

And many goodly states and kingdoms seen;

Round many western islands have I been

Which bards in fealty to Apollo hold.

Oft of one wide expanse had I been told

That deep-brow'd Homer ruled as his demesne;

Yet did I never breathe its pure serene

Till I heard Chapman speak out loud and bold:

Then felt I like some watcher of the skies

When a new planet swims into his ken;

Or like stout Cortez when with eagle eyes

He star'd at the Pacific—and all his men

Look'd at each other with a wild surmise—

Silent, upon a peak in Darien.

Auden's great elegy 'In Memory of W.B. Yeats' is also one of the finest things of its kind. It's too long to quote in its entirety here, but the beautiful closing section will suffice –

Earth, receive an honoured guest:
          William Yeats is laid to rest.
          Let the Irish vessel lie
          Emptied of its poetry.

          In the nightmare of the dark
          All the dogs of Europe bark,
          And the living nations wait,
          Each sequestered in its hate;

          Intellectual disgrace
          Stares from every human face,
          And the seas of pity lie
          Locked and frozen in each eye.

          Follow, poet, follow right
          To the bottom of the night,
          With your unconstraining voice
          Still persuade us to rejoice;

          With the farming of a verse
          Make a vineyard of the curse,
          Sing of human unsuccess
          In a rapture of distress;

          In the deserts of the heart
          Let the healing fountain start,
          In the prison of his days
          Teach the free man how to praise.  

The great, nurturing friendship of Robert Frost and Edward Thomas made a poet of the latter and a better poet of the former. Here Frost remembers his friend... 

I slumbered with your poems on my breast
Spread open as I dropped them half read through
Like dove wings on a figure on a tomb
To see, if, in a dream they brought of you,
I might not have the chance I missed in life
Through some delay, and call you to your face
First soldier, and then poet, and then both,
Who died a soldier-poet of your race.
I meant, you meant, that nothing should remain
Unsaid between us, brother, and this remained—
And one thing more that was not then to say:
The Victory for what it lost and gained.
You went to meet the shell’s embrace of fire
On Vimy Ridge; and when you fell that day
The war seemed over more for you than me,
But now for me than you—the other way.
How over, though, for even me who knew
The foe thrust back unsafe beyond the Rhine,
If I was not to speak of it to you
And see you pleased once more with words of mine?

R.S. Thomas and Wallace Stevens are two poets you wouldn't naturally yoke together, but the yankophobic Welshman was a huge admirer of this particular American. Here is his heartfelt 'Homage to Wallace Stevens' –

I turn now
not to the Bible
but to Wallace Stevens.
Insured against
everything but the muse,
what has the word-wizard
to say? His adjectives
are the wand he waves
so language gets up
and dances under
a fastidious moon.
We walk a void world,
he implies, for which,
in the absence of the imagination,
there is no hope. Verbal bank-clerk,
acrobat walking a rhythmic tight-rope,
trapeze artist of the language,
his was a kind of double-entry
poetics. He kept two columns
of thought going, balancing meaning
against his finances. His poetry
was his church and in it
curious marriages were conducted.
He burned his metaphors like incense,
so his syntax was as high
as his religion.
Blessings, Stevens,
I stand with my back to grammar
at an altar you never aspired
to, celebrating the sacrament
of the imagination whose high-priest
notwithstanding you are.

Elegies and poetic epitaphs can be pompous, overblown affairs – Shelley's 'Adonais', anyone? But there's no danger of that when Gavin Ewart's on the job. Here is his preposterously rhymed 'In Memoriam Sir John Betjeman (1906-1984)' –

So the last date slides into the bracket
that will appear in all future anthologies –
and in quiet Cornwall and in London's ghastly racket
we are now Betjemanless.
Your verse was very fetching
and, as Byron might have written,
there are many poetic personalities around
that would fetch a man less!

Some of your admirers were verging on the stupid,
you were envied  by poets (more highbrow, more inventive?);
at twenty you had the bow-shaped lips of a Cupid
(a scuffle with Auden too).
But long before your Oxford
and the visiting of churches
you went topographical – on the Underground
(Metroland and Morden too)!

The Dragon School – but Marlborough a real dragon,
with real bullying, followed the bear of childhood,
a kind of gentlemanly cross to crucify a fag on.
We don't repent at leisure,
you were good, and very British.
Serious, considered 'funny',
in your best poems, strong but sad, we found
a most terrific pleasure.

Which naturally brings us to Philip Larkin's tribute to Ewart, one of the last poems he completed – 

Good for You, Gavin

It's easy to write when you've nothing to write about
   (That is, when you are young),
The heart-shaped hypnotics the press is polite about
   Rise from an unriven tongue.

Later on, attic'd with the all-too-familiar
   Tea chests of truth-sodden grief,
The pages you scrap sound like school songs, or sillier,
   Banal beyond belief.

So good for you, Gavin, for having stayed sprightly
   While keeping your eye on the ball;
Your riotous road-show's like Glenlivet nightly,
   A warming to us all.

And finally, here's Richard Wilbur elegantly wishing a happy birthday to poet and Blake enthusiast Kathleen Raine – 

For K.R. On Her Sixtieth Birthday

Blow out the candles of your cake.
They will not leave you in the dark,
Who round with grace this dusky arc
Of the grand tour which souls must take.

You who have sounded William Blake,
And the still pool, to Plato's mark,
Blow out the candles of your cake.
They will not leave you in the dark.

Yet, for your friends' benighted sake,
Detain your upward-flying spark;
Get us that wish, though like the lark
You whet your wings till dawn shall break:
Blow out the candles of your cake. 

Butterflies and Waldemar

 Another glorious spring day, and this morning I took a walk in hope of seeing more butterflies. There was much to enjoy – birdsong (including chiffchaffs now), flowers and early blossom – but, as it turned out, the slight touch of chill in the breeze was enough to deter the butterflies, fussy creatures that they are. However, I did see my first tortoiseshell of the year – Small Tortoiseshell I should say, as the lovely Large Tortoiseshell is now re-established as a British species. And later I was entertained by two Peacocks and a Brimstone (all at the same time) in the garden. 
  Talking of butterflies, I saw one on television last night, in a most unlikely setting – acting as a fig-leaf over the nether privities of the dwarf Nano Morgante, in a startling double-sided portrait by Bronzino (the butterfly was of course highly stylised). This featured in Waldemar Januszczak's typically lively and entertaining series on Mannerism. I hadn't really thought much about Mannerism as such (though I've written here about Moroni, Parmigianino, Andrea del Sarto and others), but Waldemar brings home its extraordinary, intense energy and all-encompassing range, from utterly grotesque sculpture and wildly over-the-top ceiling paintings to hauntingly beautiful portraits – definitely Mannerism's strong suit. Self-portraits too – I was interested to learn about the prolific and prodigiously gifted self-portraitist Sofonisba Anguissola, who painted the remarkable family group below (Sofonisba on the left). However, Januszczak was surely stretching things too far when he tried to enlist Palladio in the Mannerist ranks. Really? 

Sebastian

 And the birthdays just keep on coming – this time it's John Sebastian, of Lovin' Spoonful fame, and he's 82 today. I loved the Spoonful from the first time I heard them, and still regard Sebastian as a fine songwriter. Here is one of my favourites – a good-time song with some very clever lyrics...

Bertie Wooster and the Old Fifteener

 A proper spring day at last: blue sky, a warming sun and a drying wind – and butterflies! Peacocks flying or basking everywhere, including two at once in the garden, one nectaring at length on a primula. I can't say I've noticed any burnished doves, but....

"In the spring, Jeeves, a livelier iris gleams upon the burnished dove."
"So I have been informed, sir."
"Right ho! Then bring me my whangee, my yellowest shoes, and the old green Homburg. I'm going into the Park to do pastoral dances."

That's Bertie Wooster (in The Inimitable Jeeves) slightly misquoting a well known line from Tennyson's 'Locksley Hall', a poem little read these days, but one that's well worth a look.  It's written entirely in rhyming couplets, in an unusual meter – technically a modified version of trochaic octameter, which Tennyson called 'the old fifteener line'. A monodrama, like the more famous Maud but ranging more widely. Indeed it is remembered also for apparently foreseeing the coming of both commercial and military aviation, when the narrator 
'Saw the heavens fill with commerce, argosies of magic sails,
Pilots of the purple twilight, dropping down with costly bales;
Heard the heavens fill with shouting, and there rain'd a ghastly dew
From the nation's airy navies grappling in the central blue...'
It is a long poem (nearly 200 lines), full of anger and looming depression (to escape which the protagonist turns to thinking about the world as it might be in the future – hence the heavens filled with commerce). I think the opening lines at least – which include the one dimly remembered by Bertie Wooster – are rather fine and evocative of the coastal landscapes of Tennyson's Lincolnshire youth...

'Comrades, leave me here a little, while as yet 'tis early morn:

Leave me here, and when you want me, sound upon the bugle-horn.

'Tis the place, and all around it, as of old, the curlews call,

Dreary gleams about the moorland flying over Locksley Hall;

Locksley Hall, that in the distance overlooks the sandy tracts,

And the hollow ocean-ridges roaring into cataracts.

Many a night from yonder ivied casement, ere I went to rest,

Did I look on great Orion sloping slowly to the West.

Many a night I saw the Pleiads, rising thro' the mellow shade,

Glitter like a swarm of fire-flies tangled in a silver braid.

Here about the beach I wander'd, nourishing a youth sublime

With the fairy tales of science, and the long result of Time;

When the centuries behind me like a fruitful land reposed;

When I clung to all the present for the promise that it closed:

When I dipt into the future far as human eye could see;

Saw the Vision of the world and all the wonder that would be.—

In the Spring a fuller crimson comes upon the robin's breast;

In the Spring the wanton lapwing gets himself another crest;

In the Spring a livelier iris changes on the burnish'd dove;

In the Spring a young man's fancy lightly turns to thoughts of love.

Then her cheek was pale and thinner than should be for one so young,

And her eyes on all my motions with a mute observance hung.

And I said, "My cousin Amy, speak, and speak the truth to me,

Trust me, cousin, all the current of my being sets to thee."

On her pallid cheek and forehead came a colour and a light,

As I have seen the rosy red flushing in the northern night.

And she turn'd—her bosom shaken with a sudden storm of sighs—

All the spirit deeply dawning in the dark of hazel eyes—

Saying, "I have hid my feelings, fearing they should do me wrong";

Saying, "Dost thou love me, cousin?" weeping, "I have loved thee long."

Love took up the glass of Time, and turn'd it in his glowing hands;

Every moment, lightly shaken, ran itself in golden sands.

Love took up the harp of Life, and smote on all the chords with might;

Smote the chord of Self, that, trembling, pass'd in music out of sight.

Many a morning on the moorland did we hear the copses ring,

And her whisper throng'd my pulses with the fulness of the Spring.

Many an evening by the waters did we watch the stately ships,

And our spirits rush'd together at the touching of the lips.

O my cousin, shallow-hearted! O my Amy, mine no more!

O the dreary, dreary moorland! O the barren, barren shore!'