More of the Same
Within a wood set upon the bare lip
Of the pitiless amnesiac sea
I came upon a clearèd open strip
Of land. Within this clearing I could see
A tombstone. Upon it was this decree:
“Here lies a modest, pious devotee
To God, his family, and his native land.”
Around this plaque stretched apathetic sand.
I stared upon this venerated plot
Of earth, that long ago had clasped the dead
In blessed silence, for time I knew not.
The stillness from this hallowed ground had spread
From steady rock and amaranthine bed
To boundless heaven stretching overhead,
And made its once-local serenity
A thing of idle superfluity.
From the woods around this outdated site
Came an old man who stopped, and at me roared,
“Why tread you here? Under dense cloak of night
You ventured to this hallowed ground before
And stole away with that which wasn’t yours
To steal. I’ll see that you take nothing more
From this consecrated earth to which you
Come to take your villain’s illicit due.”
I raised my hands in gentle deference
And told this fuming soul I had but come
Here first today, and in further defense
Said that I would never think to steal from
Here. I told him never would I succumb
To such base, vile conduct; never once.
I asked him who would think to take from here,
This holy earth, a furtive souvenir?
His shoulders slumped, and the man heaved a sigh
And said that he lived a short space away,
And that for near all his long life, well-nigh
Eighty years, he had come near every day
To feel upon his cheek the saline spray
Of the waves, and then here would come to weigh
The pall of time upon the march of years,
And man’s pathetic voicing of his fears.
What—what!—fears—time—why is it that you speak
Said I, in such a melancholy vein?
Wherefore does your temper favor so bleak
A stance? Wherefore came you to entertain
These dismal thoughts, this woebegone refrain?
He then smiled, his hoary eyes arcane.
“It is upon this ground we tread,” said he,
“That makes this tide of woe inside of me.”
What woe, said I, could come from such a place?
And why was I assumed to be a thief?
A single tear descended down his face.
“I’ll tell you why this coppice brings me grief,”
Said he, “and why I cannot find relief
From truths I cannot bear. I will be brief.
From just above the ridge, and ‘cross the strand,
The callous ocean strikes upon on the land.
“Approaching near four hundred years ago,
A group of pilgrims chanced upon the shoal
On which we stand. A violent wind did blow
Their tiny ship beyond their skip’s control
And crashed the boat upon this grainy knoll.
The survivors, wet and weary and cold,
Elected to fashion from the debris
A temporary village by the sea.
“But finding it ideal to settle down,
A permanence, in capsule time, was formed
By the blithe founders of this coastal town.
They were untroubled, dry, well-fed and warm,
And through sun or wild oceanic storm,
‘From here, this land,’ the gallant people swore,
‘We will not be drawn. On this coastal plot
We make our home, and venture from it not.’
“They built a sturdy town, with three hundred
Souls therein. The town flourished! Its people
Built a church to praise God, grieve for and wed
Each other. Naught remains but the steeple.
The town was happy, secure and peaceful;
The mood each day was buoyant and gleeful.
They lived within a private human race,
Where kindness was the rule, the dictum grace.
“But the ocean does not restrain itself
For love, or joy, or anything beside.
The waves had set their yen upon the shelf
Of land on which the village sat astride.
The jealous reach of avaricious tide
Crept forth each year, and though the people tried
To stave the waters from their idyll clime,
The town would plunge in expeditious time.
“They fled! First in ones, then twos, then in scores.
They left their Elysian field, and faded
Into the world and were gone. The shores
Broke, and the waters, now unconstrained, bade
The human place it lusted for give way,
And, finally triumphant, did invade.
It made itself at home and settled down,
And crowned itself the emperor of town.
“The earth cycles, and nothing holds for long,
And from this town the waters did recede.
The soil in these woods is firm and strong
And fertile, and the rank decrepit weeds
The ocean left were fed on by the trees,
And soon a mighty forest did proceed
From where our long-lost travelers had stayed,
And little of their presence here remained.
“I come here, friend, to look upon the sight
Of the bare remains of this once-alive
Town. This forsaken glade bestows me fright
And in me a dreadful knowledge revives
Every time. Though man may prosper and thrive,
The earth from which his essence was derived
Will always come around to confiscate
That which it once decided to create.
“I ask for your forgiveness, gentle sir,
For lodging that from this place you would snatch
A prize. I come here often to deter
Grave-robbers and hoarders. Often I catch
Them in this glum and lugubrious patch
Of woods with thieving satchels on their backs.
They come to take the past from where it stands;
I fight to keep the past within the sands.”
A comforting word I could not express
To allay this old man’s forlorn affair.
I thought, perhaps, of trying to impress
Upon him the virtue of being aware
Of the here and the now. The disrepair
Of this antiquated settlement where
Nothing lived should not nor need not excite
In him this joylessness, this dismal fright.
Before I could give out my soothing speech,
The old man gave way to a spate of tears.
He then turned and wandered towards the beach,
Sobbing, retching, gagging upon his fears.
I called to him; it seemed he did not hear
Me. He was gone, but I knew he was near
For the sound of his wretched serenade;
And after a moment, that, too, did fade.
I left the woods, then. The day had grown cold,
And I found myself lacking want to stay.
I longed to be away from places old.
For the old man I resolved I would pray.
For what? I know not; I think, to this day,
He whiles his ever-fleeting life away
Within those trees. It gives me much concern.
I fear to those woods I, too, may return.
Daniel Payne |
levelheaded: More of the Same
The first lines of this poem—particularly “the bare lip” and “amnesiac”—pair the poem’s setting with the speaker’s memory and language. The “wood” and the “sea” come into being as the poet begins remembering and telling his story. These lines are a reminder that the universe created in the poem would not exist if not for the speaker’s brain and mouth. This idea can be tied directly to the sea’s washing away of the “sturdy town, with three hundred / Souls therein.” Just as the sea “does not restrain itself / For love, or joy, or anything beside,” time has a way of washing out even the most vivid memories.
With this immediate humanization of nature begins a parable about the strength of nature and the inescapability of time. One line sums it up pretty well: “The earth cycles, and nothing holds for long.” But the poem also makes people responsible for recognizing and respecting time’s unrelenting passage. The speaker, for instance, never turns back to the “modest, pious devotee / To God, his family, and his native land” once his interaction with the old man begins. He turns his back on the dead for the living. The old man does the same when he “turned and wandered toward the beach, / Sobbing, retching, gagging upon his fears” though in the latter half of one of the poem’s best couplets he declares, “I fight to keep the past within the sands.” The poem is strengthened considerably by its pairing the seeming consistency of time with the inconsistencies of human emotion.
One interesting thing to ask ourselves is how, as contemporary readers, we can place our readerly faith in a mode of writing that doesn’t seem reflective of contemporary life at all. It isn’t every day we see strambotto-style verses written in iambic pentameter. One quick, insufficient answer is that we accept this mode of writing out of nostalgia. But the things we’re nostalgic for have most often never really existed but in our imaginations. We aren’t, for instance, nostalgic for a past in which we all walked through graveyards and had interesting encounters with strange people therein. So, another answer we can give is that poems written direct communication with a poetry of the past—in this case, as homage to Romantic poets of the 18th and 19th century. With this in mind, if we accept the archaisms like “woebegone,” “naught,” and an ever present “upon,” if we allow references to “Elysian fields,” and we can tolerate reading “cleared” as “clearéd,” then we can sit back and enjoy the grand scale of this poem’s narrative and the speaker’s complicated philosophy.
– The Editors