Round Oak and Eastwell


All that is left of Eastwell Spring in 2016

In my own native field two fountains run
All desolate and naked to the sun;
The fell destroyer's hand hath reft their side
Of every tree that hid and beautified
Their shallow waters in delightful clumps,
That sunburnt now o'er pebbles skips and jumps.

One where stone quarries in its hills are broke
Still keeps its ancient pastoral name, Round Oak,
Although one little solitary tree
Is all that's left of its old pedigree.

The other, more deformed, creeps down the dell,
Scarcely the shade of what was once Eastwell,
While the elm-groves that groaned beneath no tax
Have paid their tribute to the lawless axe,
And the old rooks that waited other springs
Have fled to stranger scenes on startled wings.

The place all lonely and all naked lies,
And Eastwell spring in change's symphonies
Boils up its sand unnoticed and alone,
To all its former happiness unknown.

Its glory gone, its Sunday pastimes o'er,
The haunts of shepherds and of maids no more.
The passer-by unheeding tramples on
Nor heeds the spring, nor trees nor bushes gone,
While the stray poet's memory haunts the spot
Like a friend's features time hath nigh forgot.

The Poems of John Clare, ed. J. W. Tibble
(2 volumes, Dent, 1935)


Round Oak Spring


Sweet brook Ive met thee many a summers day
& ventured fearless in thy shallow flood
& rambled oft thy sweet unwearied way
Neath willows cool that on thy margin stood
With crowds of partners in my artless play
Grasshopper beetle bee & butterflye
That frisked about as though in merry mood
To see their old companion sporting bye
Sweet brook lifes glories once were thine & mine
Shades cloathed thy spring that now doth naked lie
On thy white boiling sand the sweet woodbine
Darkened & dipt its flowers — I mark & sigh
& muse oer troubles since we met the last
Like two fond friends whose happiness is past

Pet MS A23 R42
MP IV 280

Round Oak Spring is now nothing more than a drainage ditch, running east from a point a hundred metres or so SW of Royce Wood.

First Love's Recollections (part)

First love will with the heart remain
When all its hopes are bye,
As frail rose-blossoms still retain
Their fragrance when they die;
And joy's first dreams will haunt the mind
With shades from whence they sprung,
As summer leaves the stems behind
On which spring's blossoms hung.

Mary! I dare not call thee dear,
I've lost that right so long;
Yet once again I vex thine ear
With memory's idle song.
Had time and change not blotted out
The love of former days,
Thou wert the last that I should doubt
Of pleasing with my praise.


MP V 11

Clare on the Skylark

Yesterday jogging around the East Devon lanes turned out to be the day to which I always look forward every year -- the skylarks are 'up' and singing their little hearts out. When they say it is Spring... it is Spring. 

Bird of the morn,
When roseate clouds begin
To show the opening dawn
Thou gladly sing'st it in,
And o'er the sweet green fields and happy vales
Thy pleasant song is heard, mixed with the morning gales.

LP I 309

A Thrall in Northampton


[Clare in the porch of All Saint's Church, Northampton - Unknown artist]

Although rather changed from the text of the Authorised Version of the Bible that Clare knew, had memorised and loved, the words (below) are dredged up from the depth of his subconscious and desolate state of mind; arguably a true reflection of his inner life at the end of this (1841), the most difficult year of his life.

Obsessed as he is with the veracity of his memory of Mary, Clare finds himself dwelling on a biblical passage of doom and loss. Composing a long paraphrase of the prophecy, with that final denouement — ‘though bondsmen enslave thee’ — laying in wait. He finds himself writing a prophecy of his own judgment and removal.


Roger R.
John Clare Society newsletter
No. 111 - March 2011

All powerless thou to shun the doom
Or to avert the blow
To sudden desolation shalt thou go
& to the ruin which thou shalt not know

(Isaiah 47 paraphrase, lines 57-60)


Thy merchants from thy youth
They shall wander one & all
To his quarters & the truth
Shall leave thee more in thrall
Though slave dealers take thee
though bondsmen enslave thee
There's none shall be able to shield thee or save thee

(Isaiah paraphrase, lines 85-90)


In due course the ‘slave dealers’, in the form of Parson Glossop, Fenwick Skrimshire and William Page, arrive at the cottage and there are none able to shield him or save him, estranged as he was… ‘a stranger to his own family’.

One day keepers came, and a vain struggle, and the Northborough cottage saw John Clare no more. He was now in the asylum at Northampton, and the minds of Northamptonshire noblemen need no longer be troubled that a poet was wandering in miserable happiness under their park walls.

So far, the madness of Clare had been rather an exaltation of mind than a collapse. Forsaken mainly by his friends… unrecognized by the new generation of writers and of readers, hated by his neighbours, wasted with hopeless love, he had encouraged a life of imagination and ideals. Imagination overpowered him, until his perception of realities failed him. He could see Mary Joyce or talk with her, he had a family of dream-children by her: but if this was madness, there was method in it. But now the blow fell, imprisonment for life: down went John Clare into idiocy, "the ludicrous with the terrible." And even from this desperate abyss he rose.

Earl Fitzwilliam paid for Clare's maintenance in the Northampton Asylum, but at the ordinary rate for poor people. The asylum authorities at least seemed to have recognized Clare as a man out of the common, treating him as a "gentleman patient," and allowing him -- for the first twelve years -- to go when he wished into Northampton, where he would sit under the portico of All Saints' Church in meditation.

(from ‘Poems Chiefly From Manuscript’
Edited by Edmund Blunden and Alan Porter.

New York: G. P. Putnam's Sons, 1921

Valentine

The morning is up betimes my dear
Each postman is loaded by Cupid
The letters are nothing but lovers and rhymes
Some loving or joking or stupid

'Tis an old fashioned thing to go church to be wed
And then nothing can alter the fashion
But today like the birds many lovers are led
More warmly revealing their passion.

Thy love at the first gave such witching delight
No maiden on earth could be neater
And absence has kept thee so long from my sight
That thy beauty shines sweeter and sweeter.

The flowers of summer are showy and fine
But the blossoms of spring are the dearest
And just so it is with my fair Valentine
The best are the sweet and the sincerest.

There's the cyclamen flower of a delicate hue
There's the snowdrop so drooping of delicate white
There's the violet and crocus all over dark blue
That makes in a nosegay a Valentine quite.

I'll wed thee and love thee, and this is the day
We must call those we love Valentine
And I hope when we see the sweet blossoms of May
Thou'lt be a sweet blossom of mine.

LP I 405
(A final Knight transcript)

Pxxxx in 1818

[Image by Clementina Lady Hawarden (1860s) V&A]

Her hair was swarthy brown and soft of hue
As the sweet gloom that falls with evens dew
That on her fine white forehead did divide
In the triumphant negligence of pride
Her eyes were dark but they wore lights to shine
That love adores & poets call divine
Her cheeks summer blooms more hues than shade
Of loves soft innosence without its guide
& on the poutings of her amorous lip
Where youth loves fancied nectar loves to sip
Beauty had formulated that bewitching spell
That love adores & language cannot tell
Where charms triumphant made each gaze a prey
Heartaches for looking ere he turned away

"The Poet in Love" - Arbour Editions (2014)

“I met Patty by accident fell in love by accident married her by accident and esteemed her by choice       sure enough if I had not met her I should have at this day been a lonely solitary – feeling nothing but the worlds sorrows and troubles and sharing none of its happiness – as it is in the midst of trouble I am happy having a companion whom I feel deserves my best esteem”

'My Autobiographical Writings' (Robinson)

Song : "Say what is love?"


This is the first of Clare's poems that grasped me as a young(er) man in the early 1970s.  I learned it then -- probably as I was then newly engaged -- and find it is still on my mind and lips from time to time.  And to illustrate it?  A lover's view of Swaddywell in the Summer.
.
Say what is love? To live in vain
To live and die and live again?

Say what is love? Is it to be
In prison still and still be free --

Or seem as free? Alone and prove
The hopeless hopes of real love?

Does real love on earth exist?
Tis like a sun beam on the mist,

That fades and nowhere will remain,
And nowhere is o’ertook again.

Say what is love? -– A blooming name,
A rose-leaf on the page of fame,

That blooms, then fades, to cheat no more,
And is what nothing was before?

Say what is love? Whate’er it be,
It centres, Mary, still with thee.

LP I 78
(part of 'Child Harold')

Schoolboys in Winter

The schoolboys still their morning ramble take 
To neighboring village school with playing speed
Loitering with passtimes leisure till they quake
Oft looking up the wild geese droves to heed
Watching the letters which their journeys make
Or plucking haws on which their fieldfares feed
& hips and sloes -- and on each shallow lake 
Making glib slides were they like shadows go 
Till some fresh passtimes in their minds awake
Then off they start anew & hasty blow 
Their numbd and clumpsing fingures till they glow
Then races with their shadows wildly run 
That stride huge giants oer the shining snow 
In the pale splendour of the winter sun. 


Early Poems II 586

Come let us sit down on this baulk of mown hay...

[Image: 'Harvest Scene" - John Linnell (1792-1882)]

This poem has haunted me since I transcribed it from the Archives around 18 months ago.  Anne Lee and I published it in "In the Fields" (Arbour Editions 2015) but that edition is long sold out.  So I am glad to let readers of this weblog into my secret passion.

Come let us sit down on this baulk of mown hay
I love in such places to sweeter delay
Were wheat on one side us nods down with its ear
& beans on the other in blossom appear

Perfuming the lare of the partridge that lies
In the wood shadows basking their forest supplys
& hare - heres a beaten bath tracks his retreat
Feels timidly safer in his harbour of wheat

On this mown baulk no doubt he oft ventures to play
When a grasshoppers rustle might fright him away
How sweet and how lovely such places appear
I cannot help wishing our cottage was here

With the wild bees for neighbours the whole summer long
& the lark ever near us a piping his song
With beans in full blossom close up to our door
& cows in the distance lowing loud on the moor

With grasshoppers leaping were cattle might roam
& partridges calling at night by our home
Were we might sit at night by our window & see
The timid hare feed & at play on the lea

I lie in our chamber & list if we please
The nightingale song in yon thick spinney trees
While evening kept deeping its shadows of brown
& the shepherd boy sing from his toils to the town

How sweet we might find it & doubtless as sweet
To that boy would it be thats now tracking the wheat
For the corn poppy red as a fox hunters coat
& cockle flowers pale of a less showy sort

& blue caps as rich in their sweet summer dye
As the blue eyes of love or the deep bearing sky
No doubt if he knew what our wishes was at
While hes wreathg that garland to stick in his hat

Hed happily join us with excited delight
To have his hut here all these pleasures among
With all his hearts pastimes forever in sight
& be the field tenant the whole summer long

Pet MS A31 p158R

Song: O Edinborough Katy’s a beautiful girl

O Edinborough Katy’s a beautifull girl
Her eyes bright as sunshine her teeth white as pearl
Her waist little mair then the span of baith han's
Yet her bosom & shoulders are broader then man's
This Edinborough Katys a beautiful girl
Her eyes bright as sunshine her teeth white as pearl
As soft as a cushion a armfull to span
With a bosom & shoulders as broad as a man

O Edinborough Katy she bluims like a lily
The pride o' a' Scotland the pride o' her Willy
Is Edinbro' Katy as weel as the town
& she waulks on the mountain while the sun gangs down
O Endinbro Katy's a beautiful girl
Her eye is rich auburn her teeth white as pearl
O Edinburough Katy's as red as a rose
As down the fair streets of the city she goes

O Edinburgh Katy[s] suns twa three & twenty
The stranger he luiks on her beauty sae dainty
& scarcely believes her as yet in her teens
& she scarcely can think what the strangers luik means
For Katy cant bear to be speerd at bye ony
Her shoulders sae broad & her bosom sae bonny
This Edinburough Katy's the lily sae dear
& the flower o' the city at the Spring o' the year


LP I 232

A little 'Scottish' Clare for Burns Birthday today
(The spelling and punctuation? typical Clare)

The Flood

[Image: Kathryn Parsons]

On Lolham Brigs in wild & lonely mood
Ive seen the winter floods their gambols play
Through each old arch that trembled while I stood
Bent oer its wall to watch the dashing spray
As their old stations would be washed away
Crash came the ice against the jambs & then
A shudder jarred the arches—yet once more
It breasted raving waves & stood agen
To wait the shock as stubborn as before
—White foam brown crested with the russet soil
As washed from new ploughed lands—would dart beneath
Then round & round a thousand eddies boil
On tother side—then pause as if for breath
One minute—& ingulphed—like life in death

Whose wrecky stains dart on the floods away
More swift then shadows in a stormy day
Things trail & turn & steady—all in vain
The engulphing arches shoot them quickly through
The feather dances flutters & again
Darts through the deepest dangers still afloat
Seeming as faireys whisked it from the view
& danced it oer the waves as pleasures boat
Light hearted as a merry thought in may—
Trays—uptorn bushes—fence demolished rails
Loaded with weeds in sluggish motion stray
Like water monsters lost each winds & trails
Till near the arches—then as in affright
It plunges—reels—& shudders out of sight

Waves trough—rebound—& fury boil again
Like plunging monsters rising underneath
Who at the top curl up a shaggy main
A moment catching at a surer breath
Then plunging headlong down & down—& on
Each following boil the shadow of the last
& other monsters rise when those are gone
Crest their fringed waves—plunge onward & are past
—The chill air comes around me ocean blea
From bank to bank the water strife is spread
Strange birds like snow spots oer the huzzing sea
Hang where the wild duck hurried past & fled
—On roars the flood—all restless to be free
Like trouble wandering to eternity

MP IV 234

"The floods come oer the meadow leas"


Clare in a dark, dark mood as the weather, although autumnal, seems to him hardly to mirror the realisation and bleakness of his inner loss -- from Autumn 1841.

The floods come oer the meadow leas
The dykes are full & brimming
Field furrows reach the horses knees
Where wild ducks oft are swimming
The skies are black the fields are bare
The trees their coats are loosing
The leaves are dancing in the air
The sun its warmth refusing

Brown are the flags & fading sedge
& tanned the meadow plains
Bright yellow is the osier hedge
Beside the brimming drains
The crows sit on the willow tree
The lake is full below
But still the dullest thing I see
Is self that wanders slow

The dullest scenes are not so dull
As thoughts I cannot tell
The brimming dykes are not so full
As my heart’s silent swell
I leave my troubles to the winds
With none to share a part
The only joy my feeling finds
Hides in an aching heart

Child Harold (1150 - 1173)
The Living Year 1841

Tim Chilcott (1999)

The pelting storm...

Well, I can't yet be certain, but I came across this whilst in the archives this week, and I do not think it has surfaced before.  However, I'm making no claims, I just really love the world that it instantly conjures into existence.  Clare in about 1827-ish (I think).

The boy bends into the pelting storm
With folded arms & hand held over his nose
Then turns his back to catch his breath again
& button[s] up his coat or slouch his hat
To hide his eyes or shake the gathered snow
From off his garments then with couraged warmed
He turns about & faces it again

Pet MS B3 p28

A couple more short verses on this manuscript page, which I am still trying to find in the various indices.  Watch this space!

The Shepherds Calendar

Just some of the lines from 'January' that his publisher John Taylor cut from Clare's poem.  So very much NOT the (published) 1827 text.  What did Taylor have against them?  

I have split into 'verses' of eight lines simply to aid reading on a screen!

While labour still pursues his way

& braves the tempest as he may

The t[h]resher first thro darkness deep

Awakes the mornings winter sleep

Scaring the owlet from her prey

Long before she dreams of day

That bli[n]ks above head on the snow

Watching the mice that squeaks below


& foddering boys sojourn again

By ryhme hung hedge & frozen plain

Shuffling thro the sinking snows
Blowing his fingers as he goes
To where the stock in bellowings hoarse

Call for their meals in dreary close

& print full many a hungry track

Round circling hedge that guards the stack


Wi higgling tug he cuts the hay

& bares the forkfull loads away

& morn & evening daily throws

The little heaps upon the snows

The shepherd too in great coat wrapt

& straw bands round his stockings lapt

Wi plodding dog that sheltering steals
To shun the wind behind his heels

Takes rough & smooth the winter weather
& paces thro the snow together
While in the fields the lonly plough
Enjoys its frozen sabbath now
& horses too pass time away
In leisures hungry holiday
Rubbing & lunging round the yard

Dreaming no doubt of summer sward

MP I 3