Finds: Maurice Duggan' s Copy of G. M. Hopkins

[Bridges, Robert, ed. Poems of Gerard Manley Hopkins. 1918. Second Edition. With an Appendix of Additional Notes, and a Critical Introduction by Charles Williams. 1930. The Oxford Bookshelf. 1937. London: Oxford University Press, 1941.]

Actually it was the book itself that attracted me most to begin with. I'm a bit of a Charles Williams fan, for one thing, and then again it was interesting to see Robert Bridge's original arrangement of the poems (Hopkins died in 1889, but - famously and notoriously - it wasn't till 1918 that his friend and executor Bridges finally published them, after thirty odd years of dithering). It had a rather dark and soiled binding, so it wasn't surprising that it was priced so cheaply, at $8.

But then I took a closer look at the flyleaf:

Ériger en lois sans impressions personnelles, c’est le grand effort d’un homme s’il est sincère [Formulating laws without personal bias, this is the supreme achievement of a serious man] – Rémy de Gourmont

Maurice Duggan (1922-1974) is - of course - far better known as a short story writer than a poet, though a short book of his poems, A Voice for the Minotaur, was published posthumously by the Holloway Press in 2002. It's therefore quite interesting to see him purchasing (and annotating) a copy of Hopkins in 1944, at the age of 22. There's a certain schoolboy earnestness in the way he notes down important facts: he's careful to write in the date of Hopkins' death on the halftitle, for instance:

Duggan's author page on the Book Council site (copied from the 1998 Oxford Companion to NZ Literature) specifies that it was "early in 1944 [that] he made contact with Frank Sargeson at Sargeson’s Takapuna bach, and the older man quickly became his mentor." Perhaps it was at Frank's suggestion that he decided to bone up on Hopkins, buying this book on the 8th of July of that year. Duggan wrote notes on a number of the poems - mostly the famous ones: "The Windhover", "Pied Beauty" etc., and marked them on the list of contents:

Most of his efforts seem to have been directed at understanding Hopkins' fiendishly difficult classification system for English metre, though. He marks some passages in the famous preface which explain the differences between conventional "running" metre and his own new "sprung rhythm".

Overall, the notes are more technical than interpretive (how many similarly annotated copies of Hopkins are to be found in the second-hand bookshops of the world, each with its sets of extra stresses and "outrides" marked in from the notes at the back of the book?). There is one interesting feature about them, though: a curious little pencil mark which looks almost like a set of parted lips - or a little heart.

For the most part, though, he contents himself with metrical stresses and comments on whether or not that particular poem is in "running" (i.e. conventional) or "sprung" (Hopkinsian - though he claimed it was prefigured in medieval alliterative verse, as well as Milton's late metrics in Samson Agonistes) rhythm:

At the end of the book, there's a little index of particularly significant lines and expressions. There's a certain taste for the florid on display here, perhaps more appropriate to the future author of "Along Rideout Road That Summer", with its insistent echoes of "Kubla Khan", than to the Sargesonian realist of Immanuel's Land (1956).

I find the fact that he singled out "yields tender as a pushed peach" for particular notice rather amusing, given his later close friendship with Kendrick Smithyman, who abhorred Hopkins with a passion. [And how do you know that, Dr Ross? I hear you ask. Well, it's funny you should ask me that. I recall one day mentioning to Kendrick that I'd been attempting to explaining Hopkins to some Stage One students, only to hear from him in reply what overwritten slop he considered it to be. This very line, "tender as a pushed peach," with its obvious homoerotic overtones, came up in the discussion (as I recall) as a kind of final demonstration of Hopkins' lack of restraint or subtlety ...] Sargeson, though himself far less closeted as a homosexual, regarded Hopkins' difficulties in expressing the true nature of his emotions with considerable interest and respect, and it was - paradoxically - more Sargeson's taste in poetry than his insistence on laconic hardbitten prose which would be dominant in the heterosexual Duggan's later, more baroque prose works ("The Magsman's Miscellany", for instance). It's not suprising, I suppose, that the name "Hopkins" does not appear in the index of Ian Richards' otherwise magisterial To Bed at Noon: The Life and Art of Maurice Duggan (AUP, 1997). It would be difficult to justify a claim that he was an important influence on Duggan at any time. He clearly did read him, though - and with considerable care - and it's rather nice to be able to examine these neat and meticulous annotations at this distance in time, more than six decades later. The back flyleaf of the book contains the following set of lines:

tears Are in his eyes, and in his ears The murmur of a thousand years; Before him he sees Life unroll, A placid and continuous whole

These turn out to be from a poem by Matthew Arnold, "Resignation". The precise connection with Hopkins isn't clear, but perhaps it denotes Duggan's determination, even at this early stage, to carry out Arnold's instructions "to see life steadily and see it whole" - to savour the eccentricities and felicities of so ambitious and complex (yet also so personally and professionally thwarted) a predecessor as Gerard Manley Hopkins.

Wednesday's Child

[Kendrick Smithyman, Campana to Montale
(Novi Ligure: Edizioni Joker, 2010)]

Monday's Child is fair of face ...

Kendrick Smithyman was born on October 9th, 1922, in the small logging town of Te Kopuru, a bit down the river from Dargaville. And, yes, it was a Monday.

Tuesday's Child is full of grace ...

Well, it's true that the 6th of November 1962 was a Tuesday, but I wouldn't place too much confidence in that. It just goes to show how dodgy some of these old rhymes can be ...

[Kendrick Smithyman, A Private Bestiary
ed. Scott Hamilton (Titus Books, 2010)]

Wednesday's Child is full of woe ...

Let's hope not, because this Wednesday, 17th November is the launch date for a new book of "Selected Uncollected" poems by Kendrick Smithyman. It's at Old Government House in the Auckland University grounds, and it kicks off at 5.30 pm.

Thursday's Child has far to go
Friday's Child is loving and giving
Saturday's Child works hard for a living
But the child that is born on the sabbath day
is fair and wise and good and gay ...

I don't know which of those days matches up with Marco Sonzogni, but I have to say that he's been a tower of strength all through the fascinating process of revising my 2004 edition of Kendrick's translations from the Italian Modernists, Campana to Montale for republication by an Italian publisher, Edizioni Joker.

I'll be talking more about the book at the launch tomorrow, but unfortunately - though it's going through the press now - all I have to show off at present is a bound-up copy of the proof sheets (we're planning a more formal launch for it in Wellington, where Marco teaches, sometime early next year).

Paula Green's review of the first edition can be accessed here, and you can find fuller details of both editions at my bibliography site here.

It's been great to have this chance to revisit the book six years on. There was a certain scepticism about the validity of so comprehensive a set of translations from a language which Smithyman couldn't speak when the book first appeared, so I have to say I feel a considerable sense of vindication when I see how seriously Marco and his fellow Italian poetry connoisseurs take Kendrick's versions from the Italian. They are - to be sure - more in the tradition of Lowell's Imitations (1961) than Nabokov's exhaustive, four-volume Eugene Onegin (1964), but then that's hardly a crime.

Ever since I first read them shortly after Kendrick's death in 1995, I've regarded these versions from the Italian as not only among his best and most accessible poems, but also as some of the finest verse translations I've ever read.

In any case, judge for yourself. Here's one of Kendrick's versions from Salvatore Quasimodo, who won the Nobel prize for literature in 1959:

Salvatore Quasimodo
(1901-1968)

Italy is My Country

The more days move off into distance
scattering themselves, the more they return
to hearts of the poets. There fields
of Poland, the Kutno plain with hill of corpses
burning in clouds of naphtha, there
barbed wire fences quarantining Israel,
refuse soaked with blood, the fever-pitch uprising,
the chains of wretches dead long ago,
struck down in their trenches dug by their own hands,
Buchenwald is there

that mild-mannered beech wood

with its accursed ovens: Stalingrad
and Minsk with its marshes and rotten snow.
Poets do not forget. Oh hordes of the lowly,
the conquered, those forgiven out of pity!
All things may pass, but the dead do not
sell themselves. My country is Italy,
felt to be alien more than estranged. I sing
the people, also their grief
muffled by sound of the sea, the mothers’
crystal-clear mourning: I sing the life of my country.

Il mio paese è l’Italia (1946)

Kendrick Smithyman (1922-1995)
[photograph: Kenneth Quinn]

A Visit to Colville

The Colville General Store
(August 5th, 2001)

"Colville" is one of Kendrick Smithyman's most iconic small-town New Zealand lyrics. (And, yes, I know - I hate that word "iconic," too, and agree that it's overused. It's difficult to find a good alternative in this instance, though).

Here's the poem in its entirety, from his online Collected Poems.

The editors, Margaret Edgcumbe and Peter Simpson, comment:

Colville: first published in Westerly 3 (October 1968), 33; also in Earthquake Weather [1972] and Selected Poems [1989]; a town on the Coromandel Peninsula

Succinct and accurate, but somehow not the full story. For one thing, on his Stout Centre recording of the poem, Kendrick remarks that the poem caused quite a lot of fuss when it first appeared, and that people kept on assuring him that "it's not like that now." As a result (presumably), when it was included in Ian Wedde & Harvey McQueen's 1985 Penguin Book of New Zealand Verse, the title had been changed to "Colville 1964". Subsequently he seems to have gone back on that decision, though, and the title reverted to its original form.

So is it still "like that"? "That sort of place where you stop / long enough to fill the tank, buy plums, / perhaps, and an icecream thing on a stick / while somebody local comes / in, leans on the counter, takes a good look / but does not like what he sees of you"? Is it still "intangible as menace, / a monotone with a name, / ... an aspect of human spirit / ... mean, wind-worn"? It's not exactly a pretty picture he paints.

Anyway, in the winter of 2001 I decided to find out. I'd been discussing and poring over the poem for years in class, so I felt it was high time to go and check it out for myself.

[Simon & camera]

I went with my friend Simon Creasey, which may not (in retrospect) have been such a good idea - but then he couldn't be said to have stuffed up any worse than I did, so I guess I'd better just stop blaming others for my own shortcomings.

Colville Store (interior)

The trouble began shortly after we first got into town, about mid-morning. I'd been snapping away with my camera, and just naturally lifted it up and took a picture as we walked into the store. There it is above, in fact.

Well, the way the guy glared it me, I realised at once that this went far beyond any conventional faux pas. And fair enough, too! I hadn't actually realised until them just how much people resent flash photography, when they haven't been asked permission (which I suspect he would have refused, in any case).

It was a supremely vulgar, touristy act, and the fact that I was desperate to get a shot of the counter to illustrate those first lines of the poem was neither here nor there. Mea culpa, that's for sure.

What's more, when I looked at the postcards he had on sale (one of which I bought - you can see it there below), it became obvious that the picturesque nature of his shop was part of his stock in trade. Basically, what I'd done was the touristic equivalent of robbing him at gunpoint.

Colville: the sunny side of the street

How do you recover from a thing like that? The obvious answer would have been to get the hell out of Dodge, but it was a misty, moisty morning, we were both pretty frozen, and since the general store doubled as a café, we decided that forking over some cold hard cash for a coffee and a muffin might help restore matters to an even keel.

Simon in the café

Lo and behold, it seemed to work! The coffee was good, the muffins were tasty, and we even found ourselves getting into conversation with some locals at an adjacent table, which almost never happens - to me, at any rate. Everything was going swimmingly, but then ...

The conversation had been cycling generally around Colville, the people who lived there, tall tales of the bush and the communes, and then Simon asked:

"Has Colville always been this small? I mean, you read about it as one of the big trading ports on the Coromandel ... has there ever been more to it than this?" (with a lofty sweep of the hand, indicating the four or five buildings in sight).

Man, you could almost hear those people stiffen! You treat a couple of random Auckland tourists as if they were human beings, and the next thing you know they're taking liberties. I hastily ushered him out of the café and into the car before he could say anything else, and tromped on the gas pedal.

"What's wrong?" persisted Simon. "What did I say? Is there a problem?"

I'm not sure he got it even when I stopped on the outskirts of town to read him a brief lecture on small town etiquette ("Rule 1. Never look around with a sneer and then comment on how small things are here; Rule 2. Never reveal that you hail from Auckland and that your beverage of choice is latte in a bowl; oh, and of course Rule 3. Never take photos of locals without their permission, especially if you have to walk right inside their dwellings to do so ...")

But maybe I'm just paranoid - perhaps they were just a bit surprised by the question, or genuinely didn't know the answer. One mustn't overreact (after all). We'd almost persuaded ourselves to believe that by the time we roared back into town, many hours later, after having been up to the tip of the peninsula and even taken a dip in the icy cold water.

To give you a slightly better idea of the context, here's a panorama of pictures I took just a bit out of town, with suitable captions from Kendrick's poem:

[Thames Estuary Panorama (1-10)]

Face outwards, over the saltings

the bay, wise as contrition

shallow as their hold on small repute,

good for dragging nets

which men are doing through channels

disproportionate in the blaze

of hot afternoon’s down-going

to a far fire-hard tide’s rise

upon the vague where time is distance?

I don't remember too much about our return to town. We were starving by then, and had (as I mentioned above) persuaded ourselves that there was nothing to worry about. So we went back into the café ...

The coffee was lousy this time round. That can happen anywhere, of course, but it had been quite good on the way up. I couldn't help thinking that something had been done to it. One thing's for certain: that latte wasn't made with love ...

these have another tone
or quality, something aboriginal,
reductive as soil itself – bone
must get close here, final
yet unrefined at all. They endure.

A school, a War Memorial Hall

the store, neighbourhood of salt and hills

The road goes through to somewhere else.

That last line rather sums it up, I'm afraid: "Bleenk and you missed it," as the Australians say. But, then, someone has to live there, maintain the petrol pump and the dairy, organise the dances at the War Memorial Hall.

The poem ends rather equivocally:

Not a geologic fault
line only scars textures of experience.
Defined, plotted; which maps do not speak.

How is that sentence to be construed? Is "scars" to be taken as a verb? "It's not only geological faultlines which scar you - creating textures of experience"? Or is "scars" a noun: one of the items in a list (with commas omitted)? "Not a geologic faultline only, scars, textures of experience" ...?

One thing's for certain, he's positing a close link between the character of the inhabitants and the nature of their surroundings - or, at any rate, speculating (as an urban/e outsider) that such might be the case. I can't help feeling that he was onto something there, or is that just me being crass again?

COLVILLE

That sort of place where you stop
long enough to fill the tank, buy plums,
perhaps, and an icecream thing on a stick
while somebody local comes
in, leans on the counter, takes a good look
but does not like what he sees of you,

intangible as menace,
a monotone with a name, as place
it is an aspect of human spirit
(by which shaped), mean, wind-worn. Face
outwards, over the saltings: with what merit
the bay, wise as contrition, shallow

as their hold on small repute,
good for dragging nets which men are doing
through channels, disproportionate in the blaze
of hot afternoon’s down-going
to a far fire-hard tide’s rise
upon the vague where time is distance?

It could be plainly simple
pleasure, but these have another tone
or quality, something aboriginal,
reductive as soil itself – bone
must get close here, final
yet unrefined at all. They endure.

A school, a War Memorial
Hall, the store, neighbourhood of salt
and hills. The road goes through to somewhere else.
Not a geologic fault
line only scars textures of experience.
Defined, plotted; which maps do not speak.

11. 1. 68

[No wonder they gave me a bit of a hard time ...]