Showing posts with label Poems about Death. Show all posts
Showing posts with label Poems about Death. Show all posts

Friday, April 10, 2015

Dylan Thomas and Death



Dylan Thomas, the Welsh poet, lived a short and tumultuous life.  The son of an English teacher who himself had wished to be a poet, Thomas began writing poetry in notebooks as a teenager.

In 1930, at 16, he left school and took a job copy-editing and, later, writing for a newspaper.  And he kept writing poetry.  Challenged by a friend to write about immortality, he composed the poem below, his first published piece of art, when he was just 19 years old.




And Death Shall Have No Dominion

And death shall have no dominion.
Dead man naked they shall be one
With the man in the wind and the west moon;
When their bones are picked clean and the clean bones gone,
They shall have stars at elbow and foot;
Though they go mad they shall be sane,
Though they sink through the sea they shall rise again;
Though lovers be lost love shall not;
And death shall have no dominion.

And death shall have no dominion.
Under the windings of the sea
They lying long shall not die windily;
Twisting on racks when sinews give way,
Strapped to a wheel, yet they shall not break;
Faith in their hands shall snap in two,
And the unicorn evils run them through;
Split all ends up they shan't crack;
And death shall have no dominion.

And death shall have no dominion.
No more may gulls cry at their ears
Or waves break loud on the seashores;
Where blew a flower may a flower no more
Lift its head to the blows of the rain;
Though they be mad and dead as nails,
Heads of the characters hammer through daisies;
Break in the sun till the sun breaks down,
And death shall have no dominion.




In some ways, the poem seems to have been written by an older person, one who has seen death and resolved that it does not rule existence.  In fact, it was written by a young person, one who probably had not seen much of death and romanticized it, perhaps under the influence of earlier poetry he had read.

Years later,  when Thomas's father lay blind and dying, the poet again took up his pen to address the topic of death.  The result, his most famous work, urges his father to fight death, to fight to the last inch, to fight with every fiber of his being.  Thomas, still young at 37, cried for his father to live, to stay with his son. 


Do Not Go Gentle into That Good Night

Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.

Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.

Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.

Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.

Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.

And you, my father, there on that sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.

It was not to be.  David John Thomas, 76, died in 1952.

Dylan Thomas was a master of words and images but not so much the master of himself.  His poetry was renowned in his day, but it was not profitable enough to provide a comfortable life for Thomas or his wife and three children.  He was a heavy drinker, a bit of a brawler and in poor health generally.

The poet joined his father in that good night just more than a year later, at the age of 39.  It was said that he drank 18 shots of whiskey the evening before his death.


Living Long or Living Hard 

Most people want to live long lives.  As parents, they try to raise children who are careful and responsible.  They hope to watch their children and grandchildren launch their lives, and to savor the comforts of long, satisfying friendships and marriages.

Recently a professional football player, a successful one, ended his career after a single season.  He had studied the medical results of long years in the game -- head injuries leading to early dementia, joint pains for life -- and decided the risks were not worth the effort.

He was an outlier in the sport.

Most football players seem to be wired differently.  They crave the intensity of the game.  They know the risks and play as long as they can.  After their playing careers end, most elect to take retirements in their 50s, I have read, because they assume they will die earlier than people who worked in different fields.

I think people generally fall into two camps:

First is the majority of us who avoid risk, do what our doctors tell us and, if we venture out, do so intellectually into the world of ideas.

Then there are the people who thrill to physical danger: Navy Seals who, after leaving the military, sign up as mercenaries in war zones; the two men who climbed the sheer face of El Capitan in Yosemite Park earlier this year; people who enjoy illegal drugs so much that they ignore the risks of jail or death; motorcyclists who hate riding with protective helmets; rock musicians who eschew earplugs while knowing they will lose their hearing early.

Dylan Thomas seems to have been torn.  Writing in his teens and later, he embraced the themes of eternal life and fighting to live to a long old age.  In his behavior, not so much.











Monday, January 19, 2015

W.B. Yeats -- "Under Ben Bulben"


Drumcliff churchyard with Ben Bulben in the background

A death in my family has me turning to the subject in literature, specifically poetry.

Today I read again a poem of the great Irish poet, William Butler Yeats.  It is believed that he wrote it during the last week of his life in 1939, when, 74 years old and in ill health, he had been sent to southern France to recuperate and observe the gathering horror of another world war.

Yeats was absorbed with Irish folklore and then the battles to establish an Irish state.  He founded Dublin's Abbey Theater for performances of Irish art, and he was a senator in the early Irish parliament.

The poem is regarded as a last will and testament -- asserting his belief in an afterlife, challenging artists to set lofty classical aims for themselves and even leaving instructions for his burial in Sligo in western Ireland, where he was born.

When reading Yeats, it helps to have some background in Irish lore, Irish history and the classics; even without these, it is not difficult to catch the drift.  The power of his writing -- rhythm and phrase -- never fails to move me.  Section II is probably the most accessible, and VI, the final section, closes with Yeats writing his own emphatic epitaph.





Under Ben Bulben
       by W.B. Yeats


I.

Swear by what the sages spoke
Round the Mareotic Lake
That the witch of Atlas knew,
Spoke and set the cocks a-crow.

Swear by those horsemen, by those women
Complexion and form prove superhuman,
That pale, long-visaged company
That air in immortality
Completeness of their passions won;
Now they ride the wintry dawn
Where Ben Bulben sets the scene.

Here's the gist of what they mean.


II.

Many times man lives and dies
Between his two eternities,
That of race and that of soul,
And ancient Ireland knew it all.
Whether man die in his bed
Or the rifle knocks him dead,
A brief parting from those dear
Is the worst man has to fear.
Though grave-diggers' toil is long,
Sharp their spades, their muscles strong.
They but thrust their buried men
Back in the human mind again.


III.

You that Mitchel's prayer have heard,
"Send war in our time, O Lord!"
Know that when all words are said
And a man is fighting mad,
Something drops from eyes long blind,
He completes his partial mind,
For an instant stands at ease,
Laughs aloud, his heart at peace.
Even the wisest man grows tense
With some sort of violence
Before he can accomplish fate,
Know his work or choose his mate.


IV.

Poet and sculptor, do the work,
Nor let the modish painter shirk
What his great forefathers did.
Bring the soul of man to God,
Make him fill the cradles right.

Measurement began our might:
Forms a stark Egyptian thought,
Forms that gentler Phidias wrought.
Michael Angelo left a proof
on the Sistine Chapel roof,
Where but half-awakened Adam
Can disturb globe-trotting Madam
Till her bowels are in heat,
Proof that there's a purpose set
Before the secret working mind:
Profane perfection of mankind.

Quattocento put in paint
On backgrounds for a God or Saint
Gardens where a soul's at ease;
Where everything that meets the eye,
Flowers and grass and cloudless sky,
Resemble forms that are or seem
When sleepers wake and yet still dream.
And when it's vanished still declare,
With only bed and bedstead there,
That heavens had opened.

Gyres run on;
When that greater dream had gone
Calvert and Wilson, Blake and Claude,
Prepared a rest for the people of God,
Palmer's phrase, but after that 
Confusion fell upon our thought.


V.

Irish poets, learn your trade,
Sing whatever is well made,
Scorn the sort now growing up
All out of shape from toe to top,
Their unremembering hearts and heads
Base-born products of base beds.
Sing the peasantry, and then
Hard-riding country gentlemen,
The holiness of monks, and after
Porter-drinkers' randy laughter;
Sing the lords and ladies gay
That were beaten into clay
Through seven heroic centuries;
Cast your mind on other days
That we in coming days may be
Still the indomitable Irishry.


VI.

Under bare Ben Bulben's head
in Drumcliff churchyard Yeats is laid.
An ancestor was rector there
Long years ago, a church stands near,
By the road an ancient cross.
No marble, no conventional phrase;
On limestone quarried near the spot
By his command these words are cut:

Cast a cold eye
On life, on death.
Horseman, pass by!