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Last Poems by A. E. Housman

A >> A. E. Housman >> Last Poems

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Between the trees in flower
New friends at fairtime tread
The way where Ludlow tower
Stands planted on the dead.
Our thoughts, a long while after,
They think, our words they say;
Theirs now's the laughter,
The fair, the first of May.

Ay, yonder lads are yet
The fools that we were then;
For oh, the sons we get
Are still the sons of men.
The sumless tale of sorrow
Is all unrolled in vain:
May comes to-morrow
And Ludlow fair again.




XXXV

When first my way to fair I took
Few pence in purse had I,
And long I used to stand and look
At things I could not buy.

Now times are altered: if I care
To buy a thing, I can;
The pence are here and here's the fair,
But where's the lost young man?

--To think that two and two are four
And neither five nor three
The heart of man has long been sore
And long 'tis like to be.




XXXVI

REVOLUTION

West and away the wheels of darkness roll,
Day's beamy banner up the east is borne,
Spectres and fears, the nightmare and her foal,
Drown in the golden deluge of the morn.

But over sea and continent from sight
Safe to the Indies has the earth conveyed
The vast and moon-eclipsing cone of night,
Her towering foolscap of eternal shade.

See, in mid heaven the sun is mounted; hark,
The belfries tingle to the noonday chime.
'Tis silent, and the subterranean dark
Has crossed the nadir, and begins to climb.




XXXVII

EPITAPH ON AN ARMY OF MERCENARIES

These, in the day when heaven was falling,
The hour when earth's foundations fled,
Followed their mercenary calling
And took their wages and are dead.

Their shoulders held the sky suspended;
They stood, and earth's foundations stay;
What God abandoned, these defended,
And saved the sum of things for pay.




XXXVIII

Oh stay at home, my lad, and plough
The land and not the sea,
And leave the soldiers at their drill,
And all about the idle hill
Shepherd your sheep with me.

Oh stay with company and mirth
And daylight and the air;
Too full already is the grave
Of fellows that were good and brave
And died because they were.




XXXIX

When summer's end is nighing
And skies at evening cloud,
I muse on change and fortune
And all the feats I vowed
When I was young and proud.

The weathercock at sunset
Would lose the slanted ray,
And I would climb the beacon
That looked to Wales away
And saw the last of day.

From hill and cloud and heaven
The hues of evening died;
Night welled through lane and hollow
And hushed the countryside,
But I had youth and pride.

And I with earth and nightfall
In converse high would stand,
Late, till the west was ashen
And darkness hard at hand,
And the eye lost the land.

The year might age, and cloudy
The lessening day might close,
But air of other summers
Breathed from beyond the snows,
And I had hope of those.

They came and were and are not
And come no more anew;
And all the years and seasons
That ever can ensue
Must now be worse and few.

So here's an end of roaming
On eves when autumn nighs:
The ear too fondly listens
For summer's parting sighs,
And then the heart replies.




XL

Tell me not here, it needs not saying,
What tune the enchantress plays
In aftermaths of soft September
Or under blanching mays,
For she and I were long acquainted
And I knew all her ways.

On russet floors, by waters idle,
The pine lets fall its cone;
The cuckoo shouts all day at nothing
In leafy dells alone;
And traveler's joy beguiles in autumn
Hearts that have lost their own.

On acres of the seeded grasses
The changing burnish heaves;
Or marshalled under moons of harvest
Stand still all night the sheaves;
Or beeches strip in storms for winter
And stain the wind with leaves.

Possess, as I possessed a season,
The countries I resign,
Where over elmy plains the highway
Would mount the hills and shine,
And full of shade the pillared forest
Would murmur and be mine.

For nature, heartless, witless nature,
Will neither care nor know
What stranger's feet may find the meadow
And trespass there and go,
Nor ask amid the dews of morning
If they are mine or no.




XLI

FANCY'S KNELL

When lads were home from labour
At Abdon under Clee,
A man would call his neighbor
And both would send for me.
And where the light in lances
Across the mead was laid,
There to the dances
I fetched my flute and played.

Ours were idle pleasures,
Yet oh, content we were,
The young to wind the measures,
The old to heed the air;
And I to lift with playing
From tree and tower and steep
The light delaying,
And flute the sun to sleep.

The youth toward his fancy
Would turn his brow of tan,
And Tom would pair with Nancy
And Dick step off with Fan;
The girl would lift her glances
To his, and both be mute:
Well went the dances
At evening to the flute.

Wenlock Edge was umbered,
And bright was Abdon Burf,
And warm between them slumbered
The smooth green miles of turf;
Until from grass and clover
The upshot beam would fade,
And England over
Advanced the lofty shade.

The lofty shade advances,
I fetch my flute and play:
Come, lads, and learn the dances
And praise the tune to-day.
To-morrow, more's the pity,
Away we both must hie,
To air the ditty,






Pages:
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Alex Ross: Winner of the Guardian first book award
Stuart Evers: They made a real difference to Britain's literary culture, and it would be a terrible shame if they got forgotten in the age of Amazon

Congratulations to Alex Ross, winner of the Guardian first book award
One of only seven copies of The Tales of Beedle the Bard handwritten by JK Rowling is unveiled at the New York Public Library as the mass market edition goes on sale around the world

The arcane first book that's also a bestseller

Congratulations to Alex Ross, the deserving winner of the 2008 Guardian first book award. There's been a massed chorus of appreciation for this work already, so I shan't add much, except to say that what I particular enjoy about it is the connections it makes between musics and musicians. I'm the sort of person who goes to a lot of concerts, plays the violin, has some kind of grasp of how the history of music works – but frankly, it's all a bit fragmented and vague, since I have never studied the history of music properly and I can't really do the textbook musicological stuff. As I was reading Ross's book, it dawned on me that most of my knowledge of 20th-century music was based on reading the occasional Grove essay – and mostly, reading programme notes. What Ross's book does brilliantly is knit all these odd and isolated bits of knowledge together, so that everything starts to synthesise rather wonderfully, and you get to know what Sibelius thought of Stravinsky, say (not much – "stillborn affectations" was the phrase employed); or that Alban Berg was lionised by George Gershwin; or that David Bowie referenced Philip Glass and vice versa. That, and then the material is set against its historical and political background, such that this is a book for history-lovers as much as music-lovers.

By the way, there's a pungent criticism of the new-music scene by Hans Eisler in 1928, as quoted by Ross. How much have things changed, I wonder?

"The big music festivals have become downright stock exchanges, where the value of the works is assessed and contracts for the coming season are settled. Yet all this noise is carried out in the vacuum of a bell glass, so to speak, so that not a sound can be heard outside. An empty officiousness celebrates orgies of inbreeding, while there is a complete lack of interest or participation of a public of any kind."

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