Ah, the snow is wrapping the world in a thick blanket, and I have no where I need to be. As I sit at my desk gazing out at the whitewashed forest, I attempt now something that I seldom do. I am writing a poem.
I admit that I haven’t read Jane Kenyon’s work, but I can definitely relate to one of her famous quotations: “My ear is not working, my poetry ear. I can’t write a line that doesn’t sound like pots and pans falling out of the cupboard.”
One of the bloggers I follow hosts a weekly poetry contest. I’ve never been tempted to compete, although I’m eminently qualified. You see, this is a “Terrible Poetry Contest.”
I had already begun writing my next post, and it relates to the depression some people feel during the winter. Of course, I do my best to make sure that what I write for Mere Inkling is not “terrible.” But I decided to delay that column and pause to enter this contest. On a whim. I certainly don’t expect to win . . . which in this case is, ironically, good news.
I decided to use an uncommon poetic form, since I can at least have the satisfaction that it offers patient readers an “educational” tidbit. I chose the French descort poetic form, because it seems expressly tailored to generate terrible poetry. According to Writer’s Digest, “the descort differentiates itself from other forms by differentiating its lines from other lines within the poem. That is, the main rule of descort poems is that each line needs to be different from every other line in the poem.”
A descort poem has different line lengths, meters, avoids rhyming with other lines, no refrains, and that goes for stanzas as well. In other words, no two lines in a descort should look like each other, and the same could be said for each descort.
The strength of the form is that it allows utter freedom to the poet. The weakness is that the results are appalling. (Read the example written by the editor of the linked article, if you don’t believe me.) Without further ado, I present my latest experiment with verse.* (There’s really nothing “French” about it, beyond the fact it’s a descort.)⁑
Frigid French Philologies
by Robert C. Stroud
Shards of bleak winter gestate day after day.
The citric cannonade gurgled melodies of complacency.
Echinodermata rides again.
Hagar was not so Horrible.
Beware 48°52.6′S 123°23.6′W.
Don’t stare at dark holes.
A Galapagos penguin reads about tobacco.
Captain Kirk sings the National Anthem.
Angkor longed to visit Tenochtitlán.
From lofty Mount Olympus descended Odin.
Soon comes the summer of our discontent.
A French Poem by C.S. Lewis
C.S. Lewis wrote poetry. There is actually a plaque in his honor in Poet’s Corner in Westminster Abbey. Deservedly so. Nevertheless, Lewis’ poetry was never highly regarded.
I, for one, consider this lack of appreciation providential. By this I mean that even though C.S. Lewis had to suffer the disappointment of not realizing his desires as a poet, it is a blessing to the whole world that his energies were redirected into his other writings. Who knows, if his poetry had been celebrated, whether or not Narnia would ever have existed?
The only book of Lewis’ which is in the public domain (i.e. free for downloading), is Spirits in Bondage: A Cycle of Lyrics. It was published after the First World War, written while he was still an atheist. While it makes for interesting reading, much of the imagery will be a bit disorienting for readers only familiar with Lewis after he encountered Christ.
The following poem is taken from that collection. As Alister McGrath writes in The Telegraph article, Lewis’ hopes were dashed relatively early.
The early poems remain a powerful witness to Lewis’s early atheism, railing against an absent and uncaring God who failed to halt the slaughter the author saw around him. But he never achieved recognition as a “war poet,” like Rupert Brooke and Siegfried Sassoon, who are also commemorated in Poets’ Corner. Indeed, not only did he fail to secure recognition for his war poetry, he was not acclaimed as a poet of any kind, as the lack of interest in his second volume of verse—Dymer (1926)—made painfully clear.
This example of Lewis’ war poetry does stand tall in comparison to the verse of the “acclaimed” war poets (in my modest opinion). It describes a battle site during the war—and the transformation of human beings into beasts.
French Nocturne (Monchy-Le-Preux)
Long leagues on either hand the trenches spread
And all is still; now even this gross line
Drinks in the frosty silences divine
The pale, green moon is riding overhead.
The jaws of a sacked village, stark and grim;
Out on the ridge have swallowed up the sun,
And in one angry streak his blood has run
To left and right along the horizon dim.
There comes a buzzing plane: and now, it seems
Flies straight into the moon. Lo! where he steers
Across the pallid globe and surely nears
In that white land some harbour of dear dreams!
False mocking fancy! Once I too could dream,
Who now can only see with vulgar eye
That he’s no nearer to the moon than I
And she’s a stone that catches the sun’s beam.
What call have I to dream of anything?
I am a wolf. Back to the world again,
And speech of fellow-brutes that once were men
Our throats can bark for slaughter: cannot sing.
I confess (though I did it on purpose) that the heading for this section was a bit misleading. “French poem” may have been interpreted as a poem written in French. While Lewis was certainly fluent in French, he did not write in the language. He did, however, appreciate the tongue.
In 1952 he wrote his publisher about the French translation of The Lion, the Witch and the Wardrobe. He praised quality of the translation, as well as the tone achieved by the translator, in Le Lion et la Sorcière Blanche.
I don’t foresee many occasions for copies of Le Lion, but if you will kindly send me 2, they might come in useful. The translator deserves to be congratulated of course—French is a very powerful language—the children become perfect little Frenchmen, but that is all to the good.
What pleased and surprised me is the passage at the end where I made them talk like characters in Malory, and he has really got some of the quality of the French 13th century prose romances: grande honte en aurions⁂—is exactly right.
C.S. Lewis’ brother, Warnie, was a bit of a Francophile. He knew his subject well enough that he authored a book about its history, The Splendid Century: Life In The France Of Louis XIV. He offers an entertaining account of some literary gatherings where the works of Jean Chapelain (1595-1674) were employed in a novel manner. The writers shared agreed upon rules, and transgressions demanded discipline. Thus the punishment for “the breach of rules was to read a verse of Chapelain’s poetry, or, in aggravated circumstances, a whole page.”
I won’t hold my breath awaiting the results of the poetry contest. Though I periodically enjoy dabbling in poetry, I feel I am destined to share the fate of Lewis when it comes to the way in which the masses assess the quality of our verse.
* I have written poetry in the past. I explored the quintain here, and have a few of my experiments in poetry posted at All Poetry.
⁑ According to Encyclopedia Britannica, descort can also refer to “a poem in medieval Provençal literature with stanzas in different languages.”
⁂ The phrase means “great shame we would have.”
12 thoughts on “C.S. Lewis & French Poetry”
In the current issue of CSL: The Bulletin of the New York C. S. Lewis Society, I discuss the poem about Lancelot in Narrative Poems (1967) and suggest that Lewis’s poetry may be too often dismissed by people basically on hearsay. I’d recommend that people who enjoy fantasy read that poem, “The Nameless Isle,” and “The Queen of Drum.” The Lancelot poem is, like Tolkien’s little-known “Lay of Aotrou and Itroun” and Coleridge’s “Christabel,” an example of eldritch verse.
Thanks for your article, Dale. We subscribe to the Bulletin, and I have in on my desk right now. I haven’t had a chance to read “Launcelot” yet, but I’m looking forward to it after your description of the Queen’s horrifying plan.
I agree that people should read things for themselves rather than simply relying on critics–especially critics who do not at all share their world view.
I intentionally skipped over your efforts in anticipation of reading it impartially tomorrow.
Thank you for writing about Lewis’ poetry. I agree with you: a war poet, he was not.
I definitely don’t want any special consideration. My ego’s plenty big enough already. :)
:D Duly noted, although I disagree about your ego!
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Very cool poem! I love the line with the coordinates in it. I’ve never seen that in a poem. As with all art, the more innovative, the better! Good luck on future poems, Rob!
I doubt you’ll ever see coordinates in another poem… unless it too is written for a bad poetry contest. Glad you enjoyed the post. Thanks, and congratulations on Fairfax and Glew!
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