TONY WILLIAMS
When I was poking around some early country-house poems (for a different idea, that never came to anything), the one which really spoke to me was Aemilia Lanyer’s ‘Description of Cooke-ham’. This was partly because of its seductively condensed opening, ‘Farewell (sweet Cooke-ham) where I first obtain’d / Grace from that Grace where perfect Grace remain’d’. But it was mainly because the poem’s feverish articulation of sincere feelings about a place spoke to my own feelings about my home town. (There’s also the happy accident of Cookham being Stanley Spencer’s holy place.) Formally, Lanyer’s couplets are fascinating. They are very early, and haven’t yet achieved the extreme elegance, irony and precision (and narrowness) we see in Pope. Metrically, syntactically and in terms of argument they are much more various and expansive; Lanyer is to couplets what Wyatt is to the sonnet. Tonally they are almost Romantic in attitude. It’s hard for us to read the form without the Augustans shaping what we hear, though, and in writing my poem I had to keep correcting myself, as I’d find the couplets slipping back into a more Augustan style. The first draft followed Lanyer’s original quite closely, but as it took on a life of its own it demanded to be cut back by about two thirds. It’s weird how pastiche can do this, use mimicry to discover a sincere voice inside you. Of course, it ends up being mock-heroic after all, in that it mixes bathos and pathos together – like Spencer’s paintings.
The Return to Matlock
after Aemilia Lanyer
Ey up (sweet Matlock) where I first obtained
Place from that place where perfect place remained,
And where the boozers gave their full consent
I should have power their closure to lament,
Where dingy premises willed me to indite
Saudade stories of the soul’s delight.
Ey up (sound place) I left behind with all
Its sarky glories rolled up in a ball;
Never would my sad eyes again behold
Those pleasure gardens where my fags were rolled.
Yet you (great Masson), mistress of that place,
Whose springs sprang tears that ran down your cliff-face,
Vouchsafe to sink down in those workings past,
As worldly joys were seams that could not last,
Or as sunk echoes of celestial stars
Were dimly winking in the ceiling’s quartz.
Oh how the thought of you takes me mesen
Back with new eyes to see old parts again!
The muddy Derwent with ochre spangles slid
Through the sun’s hands like a naughty kid.
The magpies cackled as they pillaged nests
While hawks stripped off spread pigeons’ bloody breasts
And woods of song resounded with the praise
We’d sing ourselves if we but had the ways.
Oh how me thought each plant, each flower, each tree
Was Matlock Matlocking to Matlock me!
The very hills right vastly did sit back,
Riber, Masson, Oker, Stanton, Slack,
And as I set my feet, they still did rise,
As if they thought me Sisyphus in disguise
And steady rain ran down their sides to flood
Crown Square brim-full and as you knew we would
We grumbled gladly in our flat-voweled speech
A climax of complaint we loved to reach.
Our swelling hearts were waxing full of pride
At how our own trumped Mansfield’s countryside.
Round Upperwood how often did I slorm
Hungover saying Jesus Christ it’s warm
With friends to sit above the woodland’s edge
And swig and root for wisdom in a hedge.
Like Moses did we mount the holy hill
To take our pleasures, smoking or a pill;
Between the cowpats did our souls delight
To hear the skylarks klaxoning at height
Above us where we sat above the town
And still exulted on the walk back down
Through Masson’s summer evening and the grass
That shook to watch another future pass.
Therefore sweet memory do thou retain
That Matlock past, which will not turn again.
When with a quick, laconic nod I left,
It signalled Matlock-style I felt bereft,
Shyly implying yes I said yes I will Yes
I will return to find me happiness,
But it was only for a weekend fling
I went back there, from time to time. The thing
About Matlock is you can’t do owt
To please it and there is no antidote
To loving there. Matlock must be borne
Like a load or goitre made of Midlands scorn
While all the other places that you’ve been
Are Matlocks moulded out of Plasticine:
I’ve been around the counties in my time,
And Europe too, the Ryanair sublime:
I saw Masson in Heidelberg’s high woods,
Pastel de nata’s like a Bakewell pud,
Slovenian karst’s a spit of Bonsall, and
I prefer Little, not Mittel, Switzerland.
Matlock’s my metre, and my key as well.
In castles I saw Riber’s citadel
And at the seaside did I mark the card
Of landlocked Matlock’s tawdry promenade.
When my commitments kept me so away
That nothing there had power to make me stay,
Yet I retained a grateful drystone mind
Some sacks of hardcore could be stacked behind
With no forgetting when I turned to leave
Those sad precincts, I was powerless to grieve
Since it was Matlock’s grief stuck in my heart
I took with me, and joyed to pull apart
Like a thwarted lover revelling in this,
The sharp refusal of the loved one’s kiss.
But in particular I took the sprawling hill,
The Heights of Abraham, and Masson Mill
Whose red and blackened bricks walled off my care
To breathe the disused lead mines’ stagnant air,
Those cold arteries booming with the sound
Of nothingness beneath the sacred ground
Whose dissolution petrified my home
And left me staring like a mardy gnome
Vexed by dissenting Matlock’s grottoesque
Inert upon a county council desk,
The dreamed Eden and the dreary fact
Entwined like Lumsdale’s gorgeous cataract.
On this old hill, the hill in me, my loss
Lay spoiling on a comfy bed of moss
And in its feverish and fugal state
Was impotent to differentiate
The hill from me, from time, from what was lost,
The Matlock which I kept, from what it cost.
Ever and Never in the end the same,
Whether I’m in Matlock or I’m Matlock’s shame
In exile, being Matlock-made I take
Matlock everywhere, a right mistake:
Me head’s the Pav’s cupola, stained and bald;
Tansley and Starkholmes is what me legs are called;
Me arms are Woolley Road and Smedley Street
Held out to hold the map of this conceit
And in me Matlock brain the neurons dance
Incompetently, down The Underpants.
I can’t go back there since there’s what I am.
Place can’t go to place, and doors can’t slam
On their own riddance, sights can’t see
How gazing at them gains eternity.
This last ey up to Matlock here I give,
When I am dead me name in its may live,
Wherein I praise whatever Matlock mocks,
Itself, elsewhere, the past, some pretty rocks,
And always will, duck, while the place remains
My Matlock padlocked shut, myself in chains.