David Jones’ Sleeping Lord; A First Encounter

When writing about Jones’ magnificent work I’ve concentrated on In Parenthesis and The Anathemata because I encountered them first and because my initial response to the other work was that it’s a bit minor in that it doesn’t achieve the magnificence of the two longer poems. This view is currently undergoing some revision as I’m now paying some overdue attention to this material and have become just as absorbed as I am with the other two.

For those new to Jones, there are a couple of contexts that need to be stated at the outset: he was a staunch and conservative Roman Catholic and his father was Welsh which led to an abiding affinity with Wales and its history. Jones makes this clear in his introduction to The Anathemata:

So that to the question: What is this writing about? I answer that is is about one’s own ‘thing’. Which res is unavoidably part and parcel of the Western Christian res, as inherited by a person whose perceptions are totally conditioned and limited by and dependent upon his being indigenous to this island. In this it is necessarily insular; within which insularity there are further conditionings contingent upon his being a Londoner, of Welsh and English parentage, of Protestant upbringing, of Catholic subscription.

The good news is that you don’t need to be either Welsh or of the Catholic faith to become immersed in and enamoured by Jones’ work. When first reading the above introduction I was more than a little nervous of both these aspects but soon discovered that the material provides many different points of entry and passages of great beauty. The Lord of the title is identified at the outset as “Lord Llywellin, Prince of Wales” who was killed by Edward i’s forces at the Battle of Orewin Bridge in 1282.

This excerpt from the early part of the poem hopefully gives some idea of its strength:

                        does a deep syncline
                        sag beneath him?
or does his dinted thorax rest
                        where the contorted heights
                        themselves rest
on a lateral pressured anticline?
Does his russet-hued mattress
                        does his rug of shaly grey
ease at all for his royal dorsals
                        the faulted under-bedding.
Augite hard and very chill
                        do scattered cerrig
jutt to discomfort him?
                        Milleniums on millenia since
this cold scoria dyked up molten
when the sedimented, slowly layered strata
(so great the slow heaped labour of their conditor
the patient creature of water) said each to each other:
"There's no resisting here:
                          the Word if made Fire."

According to the patented Arduity Trickiness Index, there are four words that may give us problems. The first is the italicised ‘cerrig’ for which Jones provides this note; “stones; pronounced ker-rig ‘er’ as in errand. Pronunciation is provided for most Welsh words because Jones, in his brief introduction, states that the poem “chances to be a piece that is essentially for the ear rather than the eye”. The second word is ‘scoria’ for which I’m taking the secondary definition given by the OED- “Rough clinker-like masses formed by the cooling of the surface of molten lava upon exposure to the air, and distended by the expansion of imprisoned gases.” The third is ‘augite’ although it can be inferred that this refers to a hard rock. The OED is more expansive: ” As a mass noun: a mineral of the pyroxene group which occurs as dark green or black prisms, and is an important component of basic igneous rocks such as basalt and gabbro”- which takes us further into things geological than we need to go. The final word is ‘conditor’ which, in Latin, google translate tells me is either founder or builder whilst the OED has ” A founder; an institutor (of laws)”,both of which make sense in this context.

here we have a Medieval Welsh king conflated with Christ ‘asleep’ on the bare stone of a mountain and the above passage lists the ways in which this might be uncomfortable or difficult for him. The asking of questions, rhetorical or otherwise, is a key feature of Jones’ later work and works to good effect here- When this reader finds himself confronted with questions rather than a straightforward description, I find myself thinking more deeply about the content. The brilliance for me is that this insistence brings us into the detail of a different time and place and enables a sense of almost physical contact with the things and events depicted. I don’t know of any poet writing in English in the last hundred years that can achieve this with such sustained force.

One of my tests of greatness is the mix of originality of expression and technique. In the above the question about the Lord’s thorax is perfectly phrased and placed with the possible exception of the “on the lateral…” line which seems to provide a little too much geological detail and thus becomes a bit clunky when read aloud.

I’m also very impressed by the way the above ends with the description of water as foundational and as a patient animal biding its time, the use of ‘dyke’ as a verb, the speaking strata and the concluding theological / Christian point. That this quite complex passage is underpinned by a very energetic sense of moving forward is quite remarkable.

The last line probably refers to the act of God’s creation as in “In the beginning was the Word” and the idea of Logos which is a key part of John’s gospel and the coming of Christ as the Holy Spirit.

There’s an extended section on the place and duties of the Lord’s candlebearer which leads to the Household’s priest and what feels like an improvised riff on matters relating to the early church. T S Eliot placed Jones alongside Joyce in the pantheon of modernists and some of Jones’ prose leaps and bounds along in a distinctly Joycean manner. We are given a lengthy description of the priest’s thoughts during a blessing:

His, silent, brief and momentary recalling is firstly of those
Athletes of God, who in the waste-lands & deep wilds of the
Island and on the spray-swept skerries and desolate insulae where
the white-pinioned sea-birds nest, had sought out places of
retreat and had made the White Oblation for the living and the
dead in those solitudes, in the habitat of wolves and wild-cat
and such like creatures of the Logos (by whom all creatures are that
are)........

My knowledge of early Christianity is almost fuzzy as that of Welsh history but I’m not aware of a tradition of holy men doing good works in the wilds of Britain. However, a priest in medieval Wales may well have imagined such figures and mentally transplanted them from the eastern end of the Mediterranean to his homeland. I have reproduced the above passage with the same line length as it appears in the 1974 Faber edition because it seems important to preserve the ‘look’ of the prose text as it is with the verse.

There are some critics who I admire that are of the view that the prose sections are poems and should be read and appreciated as such. I’m not convinced that things are quite as simple as that. Throughout the later work, I’d argue for a fairly distinct marker between the parts written as poetry which seem to be more incantatory and faux bardic than the parts written as prose. My main shred of evidence for this is the difference between the two when read aloud. For those wishing to put this to the test, I’d advocate doing the same with a passage containing both elements.

The main charge against Jones and the reason given by many for his lack of readers is obscurity, the other is the staunchly traditional nature of his Catholic faith. I’m not convinced by either of these but I do concede that there are moments when both these factors combine in a way that is challenging to say the least. This is from the extended section on the priests thoughts;

                     Quomodo sedet sola civitas plena populo!

This is annotated with;

See the first lesson of the first nocturn for Marina of Feria V in Coena Domini (Maundy Thursday) which begins ‘Incipit Lamentatio Jeremiae Prophetae Aleph: Quomodo sedet sola civitas plena populo.’

The line follows a passage on the ruination of the Roman cities and towns after the fall of the empire whilst the following lines provide some explanation for this catastrophe.

My first objection is that, for this agnostic monoglot, the explanation is more obscure than the line itself. My second objection is that, prior to the interweb (Sleeping Lord was first published in 1967) I’d have had no chance of working out what any of this meant. However, thirty seconds with the interweb reveals this passage from the A Heap of Broken Images blog:

These words first appear in Brideshead Revisited in a conversation between Cordelia and Charles. She uses them to describe her feelings after the chapel in Brideshead has been left empty. The phrase “Quomodo sedet sola civitas” -how lonely the city stands- is taken from the beginning of book of Lamentations, when the prophet Jeremiah cries over the destroyed Jerusalem; they are also used by the Liturgy of the Church in the office of Tenebrae to lament over the death of Christ.

Things now begin to fall into place, the phrase and its biblical source is now made clear and ‘fits’ well as a bridge between the two passages. It also happens that many years ago I read nearly all of Waugh’s writing because I liked his way of writing rather than his content. Like Jones, he was a staunchly conservative Catholic who bemoaned the reforms made by the Church in the early sixties. As a Jones completist, I’m now tempted to look again at Brideshead, having previously glided over most of the religious references and to look again at the diaries. For me, this is by far the most obscure part of the poem but it is the only part that I’d really struggle with and my incomprehension doesn’t get in the way of my understanding and appreciation of the poem as a whole.

After the priest’s many and varied remembrances, the poem returns to the Sleeping Lord and recounts the destruction wrought by the hog, a boar with great and destructive tusks, who may be the invading English armies of the Norman and Plantagenet periods, I’m tempted to suggest that this creature may be Edward I but that’s mainly because I want it to be.

This stunning poem ends where it began:

Do the small black horses
                      grass on the hunch of his shoulders?
are the hills his couch
                      or is he the couchant hills?
Are the slumbering valleys
                      him in slumber
                      are the still undulations
the sill limbs of him sleeping?
Is the configuration of the land
                      the furrowed body of the lord
are the scarred ridges
                      his dented greaves
do the trickling gullies
                      yet drain his hog-wounds?
Does the land wait the sleeping lord
                      or is the wasted land
the very lord who sleeps?

I hope, in this brief tour, I’ve given some idea of the poem and given encouragement to those who have initially been deterred by Jones’ reputation. I remain of the view that Jones is by far the greatest of the Modernists and that his ongoing neglect is an indictment of the current state of British Poetry as a whole and our literary critics in particular.

The Sleeping Lord and other fragments. is currently available for 12 quid from amazon. There really is no excuse.

Rene Hague on ‘The Anathemata’

I have said this before but I will carry on saying until the current situation changes, David Jones is one of the five best modernist poets of the 20th century and ‘The Anathemata’ is his finest work. It is unfathomable to me that he should continue to be neglected when so many mediocre nonentities receive ardent critical attention. Anybody who affects to have an interest in what language can do must pay attention to this man’s work. I should go on but I’v just bought Rene Hague’s “A Commentary on the Anathemata” and it is a revelation.

I don’t normally read commentaries on modernist poems but Hague was Jones’ best friend and this particular commentary is clearly put together with enormous respect for the man and the work and I think I’m reading it more for context rather than for what things might ‘mean’.

For those who don’t know, Jones was an artist who served in the first world war and converted to Catholicism in his late twenties. His main poetic subjects are his faith and the Catholic liturgy, Welsh history and culture and the Roman Empire. ‘The Anathemata’ is a long poem (243 pages in the current Faber edition) and is accompanied by a preface and extensive footnotes provided by the poet. Auden described as the century’s best long poem and confessed that he had been reading it for ten years and still hadn’t got to grips with its meaning.

In his preface, Jones talks about the role of the poet in relation to power and of poems as a kind of gathering together of ‘signs’ or cultural artefacts and I have been reading ‘The Anathemata’ as a drawing-together of Jones’ personal and entirely subjective collection of Important Stuff. I can still make a case for this but Hague makes it clear that this Important Stuff is linked and underpinned in quite complex ways.

Before providing some examples of why the commentary is so effective, I think I need to address the Catholic and the Spengler Problems. Both Jones and Hague were ardent and traditional Catholics who deplored the introduction of the vernacular Mass after the Second Vatican Council. This is no longer as big an issue as it was in the sixties but I’m just about old enough to remember the storm it created at the time. The poem isn’t a Catholic Poem in that conservative (or any other kind) doctrine isn’t rammed down the readers’ throat but there is an emphasis on the ritual and liturgical aspects of the mass, as we shall see. Jones was a fan of Spengler’s analysis of how civilisations function, Spengler was ideologically Deeply Suspect (fascist) and all of his ideas have been discredited but, whilst the poem does deal with civilisations at different times and different places, it is not a blueprint nor an espousal of all things Spenglerian.

The other thing to note is that this is a commentary written out of friendship, out of the respect Hague clearly felt for the work and for the man, it doesn’t vaunt its erudition in the quest for academic prestige but tackles the areas that need clarification with warmth and respect.

‘The Anathemata’ starts with this piece of prose:

We already and first of all discern him making this thing

other. His groping syntax, if we attend, already shapes;

   ADSCRIPTAM, RATAM, RATIONABLEM....... and by pre-

application and for them, under modes and patterns altogether

theirs, the holy and venerable hands, lift up an efficacious 

sign.

Hague’s commentary on the first paragraph begins-

D. frequently, particularly when beginning a passage, uses ‘he’, ‘him’ or ‘his’ etc, to indicate that, while he has an individual in mind, that individual is to be regarded as typical. Only two of the eight sections of The Anathemata’ do not begin in this way, ‘Middle-Sea and Lear Sea’ and ‘Mabinog’s Liturgy’ – and the first of these is quick to introduce a named person as ‘him’.

The ‘him’ whom we discern in line 1 is (however far back we are looking into pre-history) a priest – or, if that is putting it too strongly, he is at least sacredotal in his intention; he is performing a ritual act and thereby making this thing ‘other’. The repetition of the verb ‘discern’ at the very end of the poem (p243, ‘discern the Child’, ‘discern a lord’s body) shows that here, too, it carries more than the meaning of ‘distinguish’, for it contains the Pauline sense of ‘recognise the true nature of’. We could paraphrase the poet’s words in this paragraph by saying that so soon as man makes that which is significant, which is a sign of something other and greater, we can already see that his act is of the same nature as the transubstantiation effected in the Mass by a representation of what was done at the Last Supper.

I’ve quoted this at length in order to show how Hague adds depth and context rather than simply elucidating meaning. It is entirely possible for the reader who has read Jones’ preface to work out what is meant in this paragraph but it is less likely that the ‘Pauline’ sense of ‘discern’ would have been grasped, nor is it clear that such a reader would have made all the connections involved in ‘making this thing other’- it certainly took Hague’s insight / knowledge for me to work out how all these elements (poem, sign, shape, Mass, Eucharist) function together.

There are also times when Hague disagrees with Jones’ notes. The first of these occurs with ‘Adscriptam’ which Jones glosses as ‘ascribe to’ and Hague comments- “The translation given is not very satisfactory, for God is not being asked to ‘ascribe to’ but to make it ‘ascribed’, i.e. enrolled as his own, made his own.” Hague then goes on to give the full Latin text of the prayer and indicates the points where the priest makes the sign of the cross in order to further explicate the further connotations involved in Jones’ use of ‘groping syntax’ before quoting an English translation which translates the word as ‘consecrated to thyself’ which seems (to this atheist) to be half-way between the two. There is then an extensive passage from a letter from Jones which gives more context, describes liturgy as ‘pure poesis’ as well as bemoaning “the awful havoc inflicted upon us by these blasted apostles of change”.

I hope I haven’t frightened too many people off by the above, I have tried to demonstrate how Hague enables a wider and more ‘complete’ reading even for those of us who are reasonably familiar with the poem and Jones’ rationale. Certainly it has prodded me into acquiring ‘The Shape of the Liturgy’ by Gregory Dix which Jones apparently admired. This isn’t because I’m on the verge of conversion (there still isn’t any kind of God) but it is because I’m intrigued by this link between verse and ritual and by how each inform the other.

‘The Anathemata’ isn’t just about faith, it has exceptional passages on the Roman Empire, London, seafaring and Wales as well as musings on the prehistoric. Next time I’ll discuss the Hague view of Jones’ London- his home town.