This is supposed to be what a Japanese tourist at a main London railway station said to an elderly, studious-looking Englishman. The reply he received, of course, was,
“Sir, you have asked a most profound question.”
I don’t really try to answer that question, though I did read Stephen Hawking’s “A Brief History of Time”, but I am fascinated by time and it shows both in my study of History and in my poetry. Here are three poems (already posted on this blog) in all of which time is an important element.
When the grey seas beat down on this low wall
Remember us who built it high and died
We knew the fish of the sea, we knew the soaring falcon,
We tasted bread and wine and love and loss.
BY THE GATE
The cloaked man waiting by the gate
Shivers in the warming day
The planned arrival’s running late
West wind drives the clouds away
The cloaked man taps his booted feet
Fumbles out a stained small case,
Stares at a photo; fingers beat
On holster; silence in his face
A movement down the uneven road
Pulls him to a straighter stance
The guards decant the expected load
Through the gate the groups advance
The gate is shut. He has to wait,
Hears a skylark in the sky.
The man’s gone through another gate
And like the load, begins to die.
“Thou wast not born for death, immortal bird,
No hungry generations tread thee down”
But nightingales are begotten, born and die
Living a lifespan lesser than a dog.
I sing back not to the immortal song
But to the bird that might not last the summer.
Though fumbling in the enveloping folds of time
I hear what Spartans at Thermopylae
Recalled and what some thornscratched hunter heard
When humans first had wandered across sands
Into a colder, richer, trap-strewn land;
And when I smell salt water or top the ridge
Where treeless, manless, sweeps the unmarked waste
I am not the first, and clustering, unseen eyes
Share, and another mouth remembers taste
And lone and many, the nightingale’s notes rise.
The first, short poem is my reaction to an old wall. For sure the people who built it are long dead. Even its purpose is now unclear. But I wonder about those people and am aware that I share things with them.
The second is less about time. It’s about death, duty and conscience. The soldier or paramilitary policeman is not a bad man. He wants to do his duty and see his family again. But he’s supporting a mass murder, a group of unarmed people being executed. I was thinking about the Second World War and I imagined the guard as a German or Nazi ally, but even within the span of the technology described (a gun, a presumably motorised vehicle) this scene could be in many places and times: it’s a recurring tragedy.
I use simple language and understatement to convey both horror and the deadening of senses. The guard is surviving by desensitising himself to suffering: but there is a cost.
The third is very much about time. The opening quote is Keats, of course, from his “Ode to a Nightingale”. Keats saw the Nightingale as immortal in contrast to his own short, doomed life. I remind myself that real Nightingales are individuals which live a lot shorter lives than Keats. But then with Keats I realise that even though the Nightingales are different, the same song was heard by humans in very different times and situations. I quote just two examples – the Spartan warriors at Thermopylae and the first Homo sapiens (or humans of any sort) to reach Europe. This brings me to remember other experiences that unite me with people long-dead (smelling salt water, reaching the top of a ridge and seeing a vast wilderness stretching out) and I have a sense of their continuing presence.
When I wrote this poem I’d been reading a lot of Tennyson and I suspect the line “Where treeless, manless, sweeps the unmarked waste” is one I wouldn’t have written otherwise. The sense of it is very me but the inversion and sweep of the thing is more Tennyson. In the last line, the nightingale’s notes are “Lone and many”, recalling that this may be one bird, but it sings as others have sung.
Copyright Simon Banks 2012